Posts tagged art

Exploring Oklahoma Murals Where Public Art Is More Than Paint

Hi readers and writerly friends!

Suzanne Thomas’ Fall 2019 Special Topics In Art: Mural Students paint the finishing touches on the first Humanities hallway mural. Photo by Ken Beachler at Rose State College.

This week in Artsy Things, I wanted to republish an article I wrote for the 6420 Magazine. They’ve redone their website again so I figured I’d try and post all my writing here! This article was supposed to be first in a three part series, but was condensed, so the full versions will be here.

In Suzanne Thomas’ Fall 2019 Special Topics In Art: Mural class, students learned all the ins and outs of getting a mural up in public space when they met with the Randy Marks from the Oklahoma City Office of Arts and Cultural Affairs. The same day, they met with Pablo Barrera, Oklahoma Contemporary’s inaugural Curatorial fellow and the Division heads of the Fine Studio Arts at Oklahoma City University. After learning about the public art process and different opportunities for art in Oklahoma, the students began preparing for the mural they’d be painting in the upstairs, back hallway of the Rose State College Humanities building.

OKC Office of Arts and Cultural Affairs

When the mural class met with Randy Marks from the OKC Office of Arts and Cultural Affairs, they learned that the process for getting not only murals, but other forms of public art installed is a much more extensive process than slapping paint up on a wall. First, one must go through the Oklahoma City Office of Arts and Cultural Affairs to get their artwork approved, if it’s going to be on public property or on the external surface of a building (Indoor murals are at the discretion of the shopkeeper).

The mural artist must build a presentation which includes the stages of execution, mockups, expected start and finish date, location, and a budget for the project if it will require public funding from the city. The presentation must be formally presented in front of the Oklahoma City Office of Arts and Cultural Affairs Committee and approved. Once approved, the artist will begin preparing for the mural process; this includes gathering materials, preparing the workspace, and getting the necessary paperwork and waivers in order.

It’s important that muralists get a VARA Rights Waiver. Anyone who commissions a mural or other work on the interior or exterior of a building, they should ask the artist to sign a waiver of VARA rights before the work has begun and have this reviewed by an attorney and ensure that the waiver is transferrable to future owners of the property.

When the mural class met with the Oklahoma City Office of Arts and Cultural Affairs, they learned the importance of VARA waivers because on January 23, 2017, Bob Palmer’s 2-year old mural, on 46th and Western (along the crown heights area) was painted over by Alotta Action Advertising, a new company who had just moved into the building. This mural was a legacy piece by one of Oklahoma’s most acclaimed artists, and the idea that it has been covered up has a lot of artists upset at the lack of respect for the internationally renowned artist.

The mural class also learned about Kent Twitchell, the Los Angeles artist who settled his lawsuit against the U.S. government and 11 other defendants, for $1.1 million, for painting over his six-story mural—“Ed Ruscha Monument,” that was painted on the side of a federal government-owned downtown building.

Once all of this has been done and the artist gets the green light, work can commence on the project—and that’s when the paint finally goes up on the wall.

Making Space with OKC Contemporary

After their meeting with Oklahoma City Office of Arts and Cultural Affairs, the class stopped by the newly constructed Oklahoma Contemporary building to check out the building-in-progress the murals adoring the fences around the construction site, and to chat with Pablo Barrera, the Director of Oklahoma Contemporary. He told them Oklahoma Contemporary’s new building would be open in March 2020 (the opening has since been postponed due to the 2020 COVID-19 Pandemic), that the building’s exterior was made to reflect Oklahoma’s picturesque sunsets and sunrises. He also showed us the murals that they’ve set up along the construction site, called Making Space.

Fine Studio Art Division at OCU

When the students finished their visit with Oklahoma Contemporary, they visited briefly with some of the art Bryan Cardinale-Powell, Associate Professor and Chair of Visual Art and Film, and Jeff Price, Professor of Game Design and Animation at Oklahoma City University. They learned about their extensive art programs, saw their high-tech graphic design studio, and some of their projects for upcoming courses—notably their motion capture room which was under construction during the visit. It was neat to see a full-blown art studio with every tool one could imagine for bringing artwork to life. Beyond that, students saw they even had their own little art museum and exhibit hall. The area was bigger than Rose State College’s fine studio arts area but smaller than the Fred Jones Museum at the OU campus in Norman.

New Humanities Mural at RSC Coming in Spring 2020

After the class met with the different local art communities, they decided to get to work on their own mural. You can read more about their process and experience in part 2 of this series, “Breathing new life into Humanities at Rose State College” which will be featured in the Spring issue of the 6420 Magazine from the 15th Street News, at Rose State College, as well as here. The next part in this series, also covers Dean of Humanities, Toni Castillo’s vision for breathing new life into the RSC Humanities building by covering all the hallways in murals.

— Payton

Artsy ThingsPayton HayesDecember 11, 2020mural, art, public art, local art, art opportunities, art school, art college, community college, rose state college, rsc, 2020

Rose State College: Attending Art School In The Midwest

I went to Art School.

In Oklahoma.

And it was nothing like going to RISD, Parsons, or The Art Institute of Chicago, or any of the other top art schools in America.

I finished high school with a very picturesque idea in mind of what art school would be like when I finally headed off to college. I had watched videos from YouTubers like Tiffany Weng, CatCreature, May Gao, and Cup of Jasmien which not only excited me about art school, but it intimidated me as well. I wondered if I had what it took to make it in to any one of the top art schools in the country. I never really found out. I went to art school in Oklahoma. Specifically, I studied Fine Studio Art from Midwest City’s own, Rose State College, and it was nothing like I’d imagined.

I had imagined bustling hallways lined with student art, a student art gallery, rigorous classes, brutal critiques, and an almost palpable competitiveness that just wasn’t there. The art classes at Rose State College weren’t particularly hard, but the school, teachers, and students have a commitment to excellence that you would find just as well, at the larger art schools in the country. Just because I attended an art program at a smaller, community college doesn’t mean I haven’t gained a greater understanding of the arts, a substantial appreciation for the artistic process, and wider knowledge of mediums, principles, elements, and techniques. Community college is just as great as the prestigious art schools, and here’s why:

First Still Life of Painting I with Suzanne Thomas (SP 2020) in the Painting Room of the Communications Center at Rose State College

The Classes

Rose State College prides itself on having the golden 20-to-1 ratio, meaning unlike the larger schools in the state, there are fewer students to each teacher. This allows for more meaningful connections, wider possibility for discussion, and provides a space where students can really work one-on-one with their professors to achieve the education they are seeking. However, what the school is lacking is the vastness of a larger school, and perhaps this is a good thing. Rose State College has visibly been making strides to grow the campus and the student body from the new and improved Learning Resources Center and student housing built in 2016 and the new student center which began construction in 2018 and is set to be completed in late 2020.

Unlike the well-known art schools in the country, Rose State College is not strictly an art school, and in fact, it’s quite the opposite. Rose State College, is similar to OSU, OCU, and OU in that they are schools that offer a wide variety of majors. RISD and the Art Institute of Chicago focus primarily on majors within the field of art from digital art, to fine studio art, to textiles and more. The closest art design degree that Rose State College offers is in Fine Studio Arts which includes several survey art courses, several painting and drawing classes, a ceramics class and more. Alternatively, students can study animation and digital art under the Multimedia Digital Design degree. While these are exciting and essential classes for any art major, they are somewhat baseline when compared to schools like RISD. With that being said, Rose State is a 2-year school and not yet a 4-year school, so aspiring art majors, keep that in mind.

The Atmosphere

Painting I with Suzanne Thomas (SP 2020) Student paintings leaned against the wall in the painting room in the Communications Center at Rose State College. Photo by Payton Hayes.

As mentioned, the school is relatively small, compared to the other, much larger schools in the state and the other art schools in the country. However, the atmosphere was much more laid back and provided a space for connection and open discussion. The classrooms were not particularly outstanding, but they served their purpose well. The painting room, for example could seat up to 20 at most, but since there typically aren’t many art majors attending RSC the classrooms never felt cramped. In several art classes, the work is primarily student-driven and advised by the professors. Professors would often outline a general idea and basic requirements for each assignment, but the students had a lot of freedom to execute their visions. Music was often put on in the background and the laid-back vibe of the classroom encouraged students to converse and walk around the room to observe the techniques of other artists in real-time. Some classes had semi-formal critiques, where students would hang their work on a wall, and one-by-one observe and critique each other on the strengths and weaknesses of the work.

Key Differences

Of course, there are always trade-offs when comparing the bigger art schools to the smaller, non-art schools—the latter offers smaller, more connected classes, provides a space for greater, more meaningful discussion, and allows students to form more tight-knit bonds with each other, while the former offers greater diversity and challenges students to rise to higher standards. Which school is best for you will depend on what you want to get out of your art degree.

Second Still Life of Painting I with Suzanne Thomas (SP 2020) in the Painting Room of the Communications Center at Rose State College. Photo by Payton Hayes.

What did an art degree at RSC do for me?

Studying art at Rose State College taught me all the basics—everything I needed to know about different art mediums and techniques, all the different elements and principles of art, and of course, how to identify artist, style, and time period when looking at a piece. However, I also learned some valuable skills in addition to the basics. I learned skills in time management, craftsmanship, and presentation. I also learned how to be expressive and let go of expectations in art—this mindset shift has greatly improved my own craft as well as increased the joy and love I have for observing and creating art. It’s very much like Bob Ross says—happy accidents.

Paint used on the Humanities mural in the upstairs back hallway of the RSC Humanities building. Photo by Payton Hayes.

By attending Rose State, I was also able to participate in a few unique and incredible opportunities, such as getting to paint two different murals in their Humanities building, helping organize and put on a student-led art exhibition, and getting a closer look into how public art is created in the greater OKC area. I have made valuable connections with other art opportunities and mentors across the state, such as Pablo Barrera from Oklahoma Contemporary, Randy Marks from the OKC Office of Arts and Cultural Affairs. I feel confident that I could hold a candle to the students graduating from the top art schools in the country because of what I’ve learned and where studying art in Oklahoma has taken me.

I think, if you are dead set on attending RISD or Parsons, you should totally do that. But they aren’t the only schools to study art from in the country. Likewise, they are incredibly competitive and often hard to get into in the first place. If your heart is not set on attending one of these elite schools, consider attending a community college or art program in the Midwest because there is so much, they can offer that the bigger schools just cannot. Additionally, by attending the smaller art schools/programs, you’re supporting a growing art community—be it in Oklahoma or elsewhere.

Student artwork hung in the glass case in the Rose State College Communication Center, Spring 2020. Photo by Payton Hayes.

Thanks for reading my reflection on attending a smaller (non-)art school in Midwest City, OK, as opposed to going to RISD or one of the bigger, better-known art schools in the country. I just wanted to shed some light on what it was like for me. Of course, I am sure my fellow students may have had slightly (or even vastly) different experiences at Rose State, but these were just my observations. If you liked this article or found it helpful in some way, please consider “liking” it or leaving a comment below!

Thumbnail photo created with Picsart by Payton Hayes.

—Payton

Artsy ThingsPayton HayesMay 18, 2020art, art school, midwest, oklahoma, rose state college, rsc, college, community college, 2020

Making Space With Oklahoma Contemporary: Interview With Pablo Barrera

In light of the COVID-19 public health crisis, Oklahoma Contemporary has postponed the opening of our new arts center.

You can read more about their plans for a delayed opening celebration here.

Hi artsy and writerly friends! Today, I have a very special blog post/ article for you! I got the amazing opportunity to sit down and interview Pablo Barrera, Oklahoma Contemporary’s inaugural curatorial fellow. You can find out more about him here. This is just the interview I conducted with him—if you’d like to read the 6420 article, stay tuned until the end for further reading. In this interview, we discuss their first and second mural series—Making Space, what Oklahoma Contemporary is doing to pair mentoring artists with emerging artists, and how they are helping to shape public art in OKC by showcasing artist’s work along their construction fence line.

Pablo Barrera, Oklahoma Contemporary’s curatorial fellow.

What is Oklahoma Contemporary’s purpose behind the murals decorating the construction area?

Oklahoma Contemporary’s temporary showroom fashioned from four repurposed shipping containers. Photo taken by Payton Hayes.

Barrera: Making Space: Summer Mural Series was designed to support emerging artists through mentorship in order to expand the number of artists contributing to Oklahoma City’s visual culture. Making Space reflects a new version of Guerrilla Art Park, an annual exhibition of outdoor public art by Oklahoma artists, held in the summers of 2016, 2017 and 2018. The mural series shares Guerrilla Art Park's goals: to showcase local talent, give artists an opportunity to grow and develop their skills, and offer free public art to enrich downtown Oklahoma City. The mural series had two rotations of three murals in June and September 2019.

What inspired the project?

Barrera: This summer and fall, Oklahoma Contemporary’s former space at the State Fairgrounds was closed in preparation for the move into our new building site in winter. This meant that we would not be able to offer exhibitions or programming during those months. We saw an opportunity to continue our mission to provide the public with free access to art, as well as to support the local art scene, by exhibiting a series of murals along the construction fence of our new location. In this way, our new home was able to provide art experiences for OKC before its doors even open.

What was the artist selection process like? How did you find prospective artists?

Barrera: Each rotation of murals features work from established Oklahoma artists collaborating with up-and-coming artists. Preference was given to those from backgrounds/communities not widely represented in Oklahoma City public art. These murals serve as a mentorship project to introduce new artists to public mural creation. Artists were found through a combination of research, networks, and artist submissions, in which artists themselves introduced us to their portfolio.

How did you know which artists to put together for the project?

Barrera: Artists were selected based on their style: we wanted a range of mediums and techniques, but we also wanted to show styles side-by-side that complemented each other. We researched each artist’s color palette, preferred subject matter, and aesthetic, then we created a short-list of artists that could work well within the scale of the painting surface and share powerful messages. In choosing the mentors, we looked for artists that demonstrated or expressed enthusiasm about helping a new generation of mural artists to gain experience. Finally, we approached these selected artists to see who was available and felt strongly about participating in this project.

How long did each piece take to complete?

Barrera: It depends on the experience of the artist, the medium, and the design. In the first rotation of murals this past June, Tank Ramirez and his mentee, Iliana Barrientos, finished their mural in a matter of hours during our Second Saturday Live Painting event. Tank is an experienced graffiti artist, so he could have probably finished it much faster, but as a mentor, he was making sure to give his mentee, Iliana, many tips and opportunities to develop her skills. Some murals took about a week or two because of family and work obligations. We try to accommodate the various life contexts that artists come from: supporting emerging artists means maintaining enough flexibility to work alongside their lived realities.

Were the artists required to sign VARA waivers? Did they know the artwork would be temporary?

Barrera: Yes, currently, Oklahoma City regulations for mural projects require a VARA waiver in order to obtain the necessary permits. All artists were made aware of this fact before formally agreeing to participate. One of the goals of the Mural Series is to help guide artists on how to better navigate the lengthy proposal process for murals in OKC. Our aim is to demystify the application for getting a mural design approved by the city. We worked with artists to generate drawings and proposal diagrams in accordance with the Arts Commission Mural handbook. We also presented to the Arts Commission on behalf of artists, and revised all materials for the Downtown Design Committee review and permit process. We also let artists know that the lengths we would display artwork are similar to the run-time for a gallery exhibition, which ensures that the contemporary art on display is fresh and more accurately reflecting the art world today. However, since the life of a mural usually doesn’t exist beyond the display period, we provide an online platform where the works can remain visible, and we take professional, high-resolution photographs that artists may use to sell prints. We defend the artists’ rights to owning their artistic ideas, and we do not use the images for commercial purposes. Our goal as an institution is to support artists and address challenges so that they can continue to make work and be recognized for their artistic contributions.

What is the title of each project and the thought process behind them? Please be specific. I know when we met with you, you told us all about the artwork, the meanings behind them, and elements present throughout each piece, so feel free to expand as much as you’d like.

Barrera: The first rotation of murals were on display from June 8 – September 3rd. These murals were painted live during our Second Saturday event on June 8th:

Making Space #1

Rosa, 2019

Mentoring Artists: Checo “Tank” Ramirez

Mentee: Iliana Barrientos

Rosa, 2019, by Checo "Tank" Ramirez and Iliana Barrientos, for Making Space: Summer Mural Series Part I. Photography by Brandon Seekins.

Rosa depicts a woman wearing vaguely traditional clothing, gazing over her shoulder, and surrounded by Monarch butterflies. Tank and Barrientos combine two art styles: the Graffiti “Piece” and the “National” style of Diego Rivera, to create a more “Chicanx” style of painting to celebrate Latinx communities’ contributions toward contemporary visual culture.

Checo “Tank” Ramirez has been painting for over 15 years until finally being discovered by local artist, Dusty Gilpin, who recognized Tank’s contributions to Oklahoma City’s burgeoning mural scene. Some of Tank’s public works can be found in 23rd and N. MacArthur Blvd or in Capitol Hill. You can also find his murals at The Mayan in Paseo, and you may have seen his murals commissioned by the Oklahoma City Thunder during the playoffs throughout April. Tank will also have an upcoming mural at Diamond Dawgs in Norman, OK. Tank thinks that the most meaningful aspect of Oklahoma Contemporary’s Summer Mural Series is the opportunity to mentor the next generation of artists.

You can find Ramirez here.

Iliana Barrientos is a mixed-media artist, whose paintings tend to use a mix of acrylics, inks, and colored pencils. Making Space: Summer Mural Series was her first big project with the city; previous work has been exhibited for Latino Heritage Month at the University of Oklahoma in 2018. Barrientos plans to continue learning about murals and taking on any projects that will require her acquired skills. As a young artist she feels like there's so much to learn, and is excited to take what she learns from artists more experienced than her so that one day she could do the same for any upcoming artist.

You can find Barrientos here.

Same Source, 2019

By Jaiye Farrell

Same Source, 2019 (detail) by Jaiye Farrell, for Making Space: Summer Mural Series Part I. Photography by Brandon Seekins

Same Source uses white lines on a black background to create a rhythm and circulation of marks. The black “void” immerses the viewer, and the white patterns act as moments where light touches this “void” to reveal forms. Same Source explores how in previous works, people from diverse backgrounds have mentioned seeing fragments of patterns that resemble motifs from their particular cultural heritage.

Jaiye Farrell is an Oklahoma-based artist that has cultivated his style of painting from abstract patterns that transcend societal and cultural divides and remember the communal roots of humanity. From his infatuation with archeology emerged a creative and ambitious talent: to craft signature designs that inspire self-reflection. Farrell has exhibited work at Art Hall under Inclusion in Art, as well as various live-painting events. He continues to develop and express his signature style throughout the city.

You can find Farrell here.

Resilience, 2019

Mentoring Artist: Amanda Zoey Weathers

Mentee: William Walker Larason

Resilience, 2019 (detail) by Amanda Zoey Weathers and William Walker Larason, for Making Space: Summer Mural Series Part I. Photography by Brandon Seekins

For Resilience, Weathers and Larason painted flowers surrounding a face arranged in Weathers’ geometric, paint-by-numbers style. The larger composition is composed of separate fields of color that never intersect, carefully arranged to form features that feel harmonious and uplifting. Native foliage represents the locality of Oklahoma City.

Amanda Zoey Weathers has been cultivating her art form over the years in a variety of expressions. From painting to jewelry design to her recent works with paper and metal, she incorporates these interests into pieces that depict her personal experience and life philosophies. With a background in art and graphic design, in 2007 she began her full time artist career and launched an artist-made retail store and gallery in Oklahoma City’s Plaza District. For the past few years she has begun expanding her media to large-scale murals and public art projects in Downtown Oklahoma City.

You can find Weathers here.

William Walker Larason is an artist living in Oklahoma City, with an emphasis in working with the medium of gum wrapper foil. They also work in painting, printmaking, and photography. After completing a spotlight exhibition in Oklahoma Visual Art Coalition’s Momentum OKC in 2016, Larason began at Factory Obscura. Larason continues to work on their own personal art.

You can find Larason here.

Making Space #2

The second rotation of murals were painted live on Thursday, Sept. 5th, and will be coming down soon as we remove the construction fence:

Voodoo Fairy, 2019

Mentoring artist: Kris “GERM” Ermey

Mentee: Jonathan De Luna

Voodoo Fairy, 2019 by Kris "GERM" Ermey and Jonathan De Luna, for Making Space: Summer Mural Series Part II. Photography by Brandon Seekins

GERM and De Luna’s collaborative mural celebrates women of color entrepreneurs. GERM renders a Zimbabwe model/designer, Manaka Voodoo Fairy, in his gray monochrome portrait style. De Luna completely transforms a quote from renowned artist, Banksy, into a bold, colorful calligraphic pattern.

Kris “GERM” Ermey has been writing graffiti for over 20 years. Known for his clean, crisp lines and detailed illustrations, GERM’s skill and importance in the Oklahoma graffiti scene was recognized in fall of 2017 when he was one of ten featured artists in Oklahoma Contemporary’s exhibition, Not for Sale. His work has been featured in many events/showcases, from the outdoor graffiti exhibition, Made You Look, to the Oklahoma State Fair Mural Demo. He curated the showcase When Letters Collide (2018) and creates private and public commissions, with clients including the Linked Church. He is very involved in educating youth, partnering with both Youth Services of OKC and Oklahoma City Parks and Recreation, most recently helping to teach a 10-week hip-hop workshop for students at John Rex Elementary.

You can find Ermey here.

Jonathan DeLuna has been developing his style for the past 12 years inspired by west coast artists. He works on large-scale murals and small panels, and has become known for his unique calligraphic style. DeLuna’s work has been featured in the Inclusion in Art exhibition at Art Hall (December 2018 to March 2019) and in Oklahoma Contemporary’s Dia de los Muertos exhibition during their Celebration of Latino Culture (2018). His work is part of several private collections. In addition to his artwork, Jonathan is inspired by his role as a father. His 3-year-old daughter is already painting, and carrying the family skills on to the next generation.

You can find DeLuna here.

Invisible No More, 2019

J. NiCole Hatfield (Nahmi-A-Piah; Comanche/Kiowa)

Invisible No More, 2019 (detail) by J. NiCole Hatfield, for Making Space: Summer Mural Series Part II. Photography by Brandon Seekins

Hatfield’s mural raises awareness for Missing and Murdered Indigenous Women (#MMIW), a movement to bring an end to violence against Indigenous women. Dancer, Kayla Marie (Kiowa/Comanche/Omaha), is painted in Hatfield’s signature colorful, expressionistic style. Four figures standing in a sun represent the four directions. A red handprint over the mouth has become a symbol of #MMIW, and handprints on the dresses are from an interactive painting session with the Oklahoma Contemporary Teen Council.

J. NiCole Hatfield (Nahmi-A-Piah) draws inspiration from archival images of her proud tribal women, painting them to acknowledge and honor their voice within a contemporary world. Her art frequently incorporates Indigenous language to teach it as well as keep it alive. J.NiCole uses her preferred medium of acrylic to translate bold colors to canvas; after attending the Institute of American Indian Arts in Santa Fe, J. NiCole explored other mediums and was launched into a successful art market career, winning numerous awards and becoming part of many exhibitions, private collections, live-painting events, lectures, and workshops throughout the region. Born and raised in the Southern Plains of Oklahoma, J. NiCole, of the Penetukah band of Comanche’s and the Kiowa Nation, has a profound understanding of the unique paradox in which Native American artists find themselves, challenged with Art’s demand to “make new” while still honoring and appreciating the unchanging spirit in all things, as well as traditional tribal values.

You can find Hatfield here.

Blooming, 2019

Mentoring artist: Brooke Rowlands

Mentee: Shakurah Maynard

Blooming, 2019 (detail) by Brooke Rowlands and Shakurah Maynard, for Making Space: Summer Mural Series Part II. Photography by Brandon Seekins.

Rowlands and Maynard's collaborative mural uses blocks of intense color and delicate line drawings to create a whimsical painting. Rowlands is known for her flowers within fields of paint, but experiments with Maynard to contribute a different style for the jellyfish and vivid color combinations.

Brooke Rowlands comes from central New Jersey, and has been a proud resident of Oklahoma since 2002. Brooke is inspired by artist Franz Kline and illustrator Clare Leighton, experimenting with ideas/methods to develop a homogenous blend of both contemporary art and still life, often incorporating flowers, birds, trees and fish into abstract backgrounds. Color is a driving force behind Brooke’s art, whether it be acrylic painting or paper collage, and her strong contrast and sense of complimentary hues and patterns command attention toward their simple beauty. Her work has been featured nationally from Texas to Times Square including features in national television series like The Vampire Diaries and Houzz project with Actress Olivia Munn.

You can find Rowlands here.

Shakurah Maynard is a fine artist and graphic designer. Born in the historic West End neighborhood in Atlanta, Shakurah is currently a student at Oklahoma City University School of Visual Arts. Her work is whimsical, colorful, and dynamic, interested in the ever-changing way we express identity on the internet. In 2017, she was selected to participate in Symbiotic, a collaborative show between working and student artists on the importance of art in communities, organized by the OVAC. Recently, she worked with local muralists to paint and distribute homes for the feral cat population in OKC.

You can find Maynard here.

Support for Making Space: Summer Mural Series provided by Downtown Oklahoma City Initiatives.

Is this a project you will continue with a spring series? Would OKC Contemporary be interested in continuing this project after construction has completed and the new location is official open in March?

Barrera: In light of the success of the mural project and excitement from the artistic community, we have decided to continue the mentor/mentee pairing for a new rotation of murals throughout the year. We are in the process of setting up a mural wall near our new art studio buildings hopefully before the closing of the inaugural exhibitions, Bright Golden Haze and Shadow on the Glare. Oklahoma has a growing and thriving mural art scene, and we hope to support this exciting part of our city’s artistic landscape.

How likely is it that OKC Contemporary would collaborate with other construction projects to integrate more artwork throughout the OKC area?

Barrera: We will always help Oklahoma City celebrate and support art in all its forms, and we are happy to lend our experience and expertise in realizing such projects across our communities. Our Curatorial and Exhibitions Director, Jennifer Scanlan, is involved in the Oklahoma Public Art Network (OPAN), which helps both artists and organizations work through the public art process. (You can find more information on the OPAN website and Facebook page). Additionally, stay tuned for exciting information about projects connected to Oklahoma Contemporary that will bring art to many different spaces across the city!

What have you learned from this project?

Barrera: I have seen that Oklahoma City and our neighboring towns have a wealth of artists waiting for an opportunity to showcase their artistic abilities. I have also come to admire Oklahoma City’s spirit of collaboration, and I have learned that we are ready for the types of conversations these underrepresented voices carry. We are giving artists a chance to share incredible perspectives, but we are also giving the city a chance to appreciate the complex, wonderful diversity that makes Oklahoma City’s visual culture so special. These artists are making OKC beautiful, both literally and as a community.

How can artists benefit from collaborating with each other?

Barrera: Every rotation of murals saw artists trading tips and networking for future collaborations. Emerging artists were able to witness the power of mentoring, and experienced artists were able to see their art as part of an inter-generational process. I imagine that if artists continue to harness this spirit of collaboration, the projects will become more ambitious and far-reaching. Also, on a practical level, mural arts becomes sustainable as more artists share their experiences.

Do you have any closing comments for the article?

Barrera: In March, 2020, Oklahoma Contemporary will open its new downtown on 11th and Broadway. This is a rare moment in the history of the city, and we want everyone to be a part of this major achievement. You may find more information on our website here. As our mission statement says: “Oklahoma Contemporary Arts Center encourages artistic expression in all its forms through education, exhibitions, and performance.” Our 30 year history of activates and exhibitions are too numerous to list, but you can read more about what we do here.

—Payton

Artsy ThingsPayton HayesMarch 6, 2020making space, okc, oklahoma, oklahoma contemporary, art exhibit, art museum, art gallery, COVID-19, pandemic, pandemic events, murals, interview, art, local art, 2020

Further reading

— Payton

The Classes

The Atmosphere

Key Differences

What did an art degree at RSC do for me?

—Payton

Making Space #1

Making Space #2

Further Reading:

—Payton