Hi readers and writerly friends! 

I hope you’re staying warm and enjoying the holidays! If this is your first time visiting my blog, thanks for stopping by, and if you’re a returning reader, thanks for coming back! I haven’t posted in a while due to obligations in my life outside the blog, but I am hoping to post more in 2024! That being said, let’s get into the post!

You’re going to want to get your bookmark button ready because there’s a ton of useful links in this post! 🔖

If you’re reading this blog post, you’re probably a creative or literary writer looking to share your work with the world! Whether you’re a seasoned author or debut writer, literary journals (also called literary magazines) are a great way to get your work out there! Literary journals are periodicals that are committed to publishing the work of writers at all stages of their careers. Most literary journals publish poetry, prose, flash fiction, and essays, but many of them publish photography, paintings, and other visual art as well! 
With 2023 wrapping up and the new year just around the corner, I thought it would be helpful to share some amazing resources for writers looking to submit their work in 2024! Many literary journals are still accepting submissions into 2024 and there are plenty of publications looking for high-quality writing for their next issue! Below is an in-depth guide for submitting your writing as well as a list of my top Oklahoma-based literary journals that I’d recommend submitting to! 

Know Your Market

First off, do your research! The next couple of points go hand-in-hand with this idea, but to ensure the best possible chance at success with your submissions, please, please do your research rather than submitting blindly. As per Poets & Writers, “Your publishing success rests on one axiom: Know your market.”  

I recommend starting with Poets & Writers’ wonderfully thorough guide to Literary Journals and Magazines where you can find details about the specific kind of writing each magazine publishes and in which formats, as well as editorial policies, submission guidelines, general expectations, and contact information. They also have an amazing database of nearly one thousand literary magazines and journals, as well as a helpful submissions tracker so you can easily keep track of which journals you’ve submitted to, how many times you’ve submitted a poem, story, or essay; the amount of money you’ve spent on fees; the status of your submissions; and how much time has passed since you submitted your work all in one place online.

• Poets & Writers’ Literary Journals and Magazines Guide (🔖Bookmark this!)

• Poets & Writers’ Literary Journals and Magazines Database (🔖Bookmark this!)

Most writers get the attention of editors, agents, and other writers by first publishing their writing in literary magazines or literary journals. (Many literary magazines and journals will offer you a modest payment for the writing they accept, sometimes by giving you a free copy, or contributor’s copy, of the issue in which your work appears.) Before beginning the submission process, it is essential to research the market to determine which publications are the best venues for your writing. Your publishing success rests on one axiom: Know your market.

—Poets & Writers

Some other useful resources courtesy of Poets & Writers include:

• Poets & Writers’ List of Open Reading Periods: Journals and Presses Ready to Read Your Work Now (🔖Bookmark this!)

• Poets & Writers’ List of Small Presses 

• CLMP ‘s Directory of Publishers (🔖Bookmark this!)

• New Pages’s  Literary Magazines Guide (🔖Bookmark this!)

• Heavy Feather Review’s Where To Submit List (🔖Bookmark this!)

• Duotrope - An amazing paid resource with SO many useful features from a publishing database with over 7,500 active publishers and agents, news pages, publishing statistics and reports, a submission tracker, theme and deadline calendar, and interviews from editors and agents that can provide insight into specific publications.

Along with the aforementioned guides and resources from Poets & Writers, I also recommend Writer’s Market, Poet’s Market, and Novel & Short Story Writer’s Market, all published by Writer’s Digest Books, and give detailed contact information and submission guidelines.

Submission guidelines and other things to consider

When researching your literary magazine presses, be sure to keep in mind the following questions:

• What kind of work is being published?

• How often do they publish?

• What are their submission guidelines?

• Do they allow simultaneous submissions?

• Do they require previously unpublished works?

• In what ways does this publisher “pay” contributors for their work—cash reward or free copies of the finished publication?

• Does this journal offer awards to high-quality submissions?

• Can you purchase additional copies or is there a limit per contributor?

• Where and how does this journal accept submissions?

• What is the contact information for this publisher in the event that you need to withdraw your submission? 

• What experiences have other contributors had with working with this magazine? Is the communication clear and open? 

• What is the turnaround time for approval and rejection letters? 

• Does this journal offer alternative publishing options such as online exclusives or in weekly newsletters? 

These are just a few questions to keep in mind when submitting your work to literary journals. I personally try to keep a variety of large and small journals, and those that accept submissions year-round (rolling submissions) or multiple times throughout the year, on my calendar.

Literary Market Place (Book-mart Press) has larger publisher and literary agent listings, and The International Directory of Little Magazines & Small Presses (Dustbooks) is a print directory you can find on sites like Amazon. You can also utilize their online database.

Finding the right publisher for your writing

Not all publishers are created equal and not all books are “big five” books. What I mean by this is that not every book—or piece of writing—will get published by one of the big five publishers and not every book is going to be on one of The New York Times’ bestsellers lists. But this isn’t inherently a bad thing. Some books are best suited for bigger publishers while others are best suited for smaller publishers and publishing your work with the right press is critical for success in the publishing industry. The same is true for literary magazines. Not every work is suited for The New Yorker or Poetry Magazine. 

There are many pros and cons to publishers of all sizes, but the primary difference is that big publishers often have more resources and a wider audience reach, but they are often far more selective when it comes to which books they publish. On the other hand, smaller publishers may not have the clout that big publishers do but they often are more intimate and personal when it comes to submissions, communications, and the publishing process. Additionally, big publishers usually have bigger marketing budgets, while small publishers often allow greater creative control when it comes to decision-making in the publishing process. Alternatively, there are medium-sized publishers that tend to have the best of both worlds and fall somewhere in between. If you’d like to read more about the pros and cons of publishing houses of all sizes, check out this fantastic article from Publishers Agents Films. 

That being said, I think you should absolutely shoot for the stars when submitting and querying. I can’t help but think of the Wayne Gretzky quote, “You miss 100% of the shots you don’t take.” 

A screencap of Michael Scott from The Office, courtesy of NBC and Katherine Arnold.

And Gretsky is 100% correct. However, when it comes to the publishing industry, success doesn’t happen by accident or luck alone. Writers must be selective and strategic in their submission process, just like publishers. It is important to be realistic about what kind of publishers will be the best for your work—it’s just a matter of good fit.

Below are some great articles about working with small versus large presses.

• “Small Press Vs Big Press: What Is The Difference?” by Winnifred Tataw of Win’s Books Blog

• “The New York Times Bestseller List.” by Seth Godin of Seth’s Blog

• “The Big Five US Trade Book Publishers.” by Ali of The Critical Thinker

• “Big Six Publishing is Dead–Welcome the Massive Three.” by Kristen Lamb

Publisher tiering and simultaneous submissions

Once you understand the benefits and drawbacks of small, medium, and large presses, one way to prepare for submissions is by tiering prospective publishers. I first learned about this process from Clifford Garstang, author of Oliver’s Travels and other novels, and editor of the acclaimed anthology series, Everywhere Stories: Short Fiction from a Small Planet.

Tiering is an aid to simultaneous submissions that groups the best magazines together in the top tier, somewhat less prestigious magazines in the next tier, and so on. It is advisable to submit work to the top tier first, or at any rate within the same tier, so that an acceptance by one, which requires withdrawal from the others, won’t be painful. (If you get an acceptance from a lower-tier magazine while you’re still waiting to hear from a higher-tier magazine, that could lead to a difficult withdrawal. Withdrawal is ethically required, but what if the higher-tier magazine was about to accept the piece?) So, I decided to rank literary magazines—first in fiction, because that’s what I was writing, but later in poetry and nonfiction because many people requested that—to help me decide where to submit. In theory, I would aim toward the top of the list and work my way down until someone finally accepted my story.

—Clifford Garstang

Garstang meticulously prepared a wonderfully helpful ranking chart for 2023 Literary Magazine Rankings. I have no doubt these rankings will look quite similar, next year as well, but until we have an updated list, I’ll be going by his 2023 list.

Calendar blocking submission deadlines

Another great way to prepare for submitting your work in 2024, is to block out submission windows for all the presses you’re interested in submitting to. I typically keep my favorite fifteen literary journals' submission windows in my Google Calendar and a master list of many other potential magazines' submission windows, organized by date, in a Google doc. That way, I keep the top fifteen literary journals I’d like to publish with at the forefront of my mind and I can easily find other publishers throughout the year. I’d recommend researching literary magazines at all levels in your desired category—poetry, prose, essays, and visual art and making your own master list that is tailored to your work. Making a specific list based on your work will prove far more useful to you than simply going by my list.

Pro Tip: You can either block out submission openings AND closings or just the openings. In the image below, you can see that I usually just block out the opening dates and assume any blocks of time without that event means they’ve closed.

A screencap of Submission Calendar Blocking in Google Calendar. Photo by Payton Hayes

A photo of Nimrod International Journal Fall 2023 issue, Awards 45 on a wooden side table. Photo by Payton Hayes.

Keep a consistent submission schedule and carve out time for rituals

In addition to tracking submission deadlines, it is also a good practice to make and keep a consistent submission schedule for yourself. Once you’ve got a couple of pieces that you feel confident in publishing (and have been edited and proofread), start sending out a couple of submissions each week. I also suggest creating some sort of rejection ritual. You will inevitably face rejections, but instead of letting them get you down, let them be part of the process. Whenever you receive a rejection letter, print it out and burn it or tape it to your writing desk as motivation to keep writing and keep submitting. Likewise, come up with some kind of acceptance ritual—some way to celebrate each of your accepted submissions. No matter the amount of rejections you receive, don’t get discouraged! It just takes time and perseverance. The more you submit, the easier the whole process will get, I promise.

Besides, sometimes even if you don’t get accepted, you still get a freebie out of it in the end and who doesn’t like free stuff? I submitted to Nimrod International Journal in 2023 and while none of my submissions were accepted, they still sent me a free copy of the issue I submitted to. If I’m honest, I wasn’t expecting them to send me a free copy—they send one free copy out to all contributors, but since I was rejected, I didn’t think I counted as a contributor—and it sort of felt like a tiny slap in the face. But after some time passed, I realized it wasn’t personal and was grateful to have the free copy.

Oklahoma Literary Journals

As a writer and editor based in Oklahoma, I’m pretty familiar with the literary scene here in the scissortail state and I’d like to take a moment to share a few of my favorite literary journals that I’ve personally had the pleasure of working with. 

New Plains Review -  January 15 for the Fall 2024 issue and July 15 for the Spring 2025 issue

New Plains Review, a student-run literary journal at the University of Central Oklahoma, proudly receives hundreds of submissions from all over the world. Keeping with the University of Central Oklahoma’s goals of both excellence and diversity, it is our mission to share with our readers thought-provoking, quality work from a diverse number of authors and artists around the world. We are eager to help these creators broaden their audience and reinforce the importance of the arts in our everyday lives.

1890: A Journal of Undergraduate Research - September 15 

The purpose of 1890: A Journal of Undergraduate Research is to provide undergraduate students the opportunity to demonstrate their interests and abilities in various disciplines by accepting works of research, creative writing, poetry, reviews, and art. New Plains Student Publishing uses 1890 to encourage, recognize, and reward intellectual and creative activity beyond the classroom by providing a forum that builds a cohesive academic community.

The Central Dissent: A Journal of Gender and Sexuality - Opening summer of 2024

The Central Dissent: A Journal of Gender and Sexuality is an interdisciplinary academic journal produced by New Plains Student Publishing and sponsored by the UCO's Women’s Research Center as well as the LGBTQ+ Student Center. Being the first and only academic journal focused on gender and sexuality in Oklahoma, our mission is to gather and disseminate quality research, poetry, and academic reviews that explore gender theory, gender identity, as well as how race, class, and ethnicity shape society’s expectations of the individual both currently and historically.

Pegasus - Opening in early 2024

Pegasus is the annual literary journal of original art, poetry, photography, personal essay, and fiction by Rose State College students, faculty, and staff. 2024 Submission deadline to be announced. 

Nimrod International Journal of Poetry and Prose - January 1 to October 1 for general submissions in prose and poetry and January 1 to April 1 for the Nimrod Literary Awards contest

Nimrod International Journal welcomes submissions of poetry, short fiction, and creative nonfiction. We publish two issues annually. Our spring issue is thematic, with the theme announced the preceding fall. Previous themes have included Writers of Age; Range of Light: The Americas; Australia; Who We Are; Islands of the Sea and of the Mind; The Arabic Nations; Mexico/USA; and Crossing Borders. The fall issue features the winners and finalists of our annual Literary Awards. In most cases, both issues also contain work accepted as general submissions throughout the year.

Literary Magazines currently accepting submissions into 2024

Erin Duchesne of Make A Living Writing has compiled a fantastic list of 18 Literary Magazines Accepting Submissions in 2024 so I figured I’d include a condensed version of it here as well as a link back to the article for your convenience.

Literary journals with submissions open year-round:

• Asimov’s Science Fiction - Rolling Submissions

• Harper’s Magazine - Rolling Submissions

• Narrative Magazine - Rolling Submissions

• The Sun Magazine - Rolling Submissions'

• The New Yorker - Rolling Submissions

Literary journals with one submission deadline:

• Ploughshares - June 1 to January 15

• POETRY Magazine - September 16 to June 14

• The Sewanee Review - September 1 to May 31

• The Georgia Review - August 16 to May 14

• The Kenyon Review - September 1 to 30

Literary journals with multiple submission deadlines:

• AGNI - September 1 to December 15; February 14 to May 31

• The Iowa Review - August 1 to October 1 for fiction and poetry; August 1 to November 1 for non-fiction

• The Gettysburg Review - September 1 to May 31; graphics accepted year-round

• New England Review - September 1 to November 1; March 1 to May 1

• Swamp Pink - September 1 to December 31; February 1 to May 31; prize submissions are accepted in January

• The Paris Review - March and September for prose; January, April, July and October for poetry

• Granta - March 1 to 31; June 1 to 30; September 1 to 30; December 1 to 31

Literary journals with submissions opening soon:

• One Story - Opening in early 2024

Although this list is a great place to start for literary journals that are currently still accepting submissions going into 2024, I still highly recommend you research your market and put together a tailored list for journals you plan to submit to in the coming year.

And that’s it for my guide to all things literary journals and magazines! This is by far not a comprehensive list, but I tried to be as thorough as possible! What did you think of this guide? Let me know in the comments below! If you know of any amazing resources not listed here, please leave me a comment to and I’ll get them added to this post! Thanks for reading and supporting my work!

Bibliography:

• Arnold, Katherine and NBC. “You miss 100% of the shots you don’t take – Wayne Gretzky – Michael Scott” – The Campus Activities Board.” Lanthorn Website, November 25, 2019. (Wayne Gretzky quote/Michael Scott meme from NBC.)

• Duchesne, Erin. “18 Literary Magazines Accepting Submissions in 2024.” Make A Living Writing, accessed December 18, 2023.

• Garstang, Clifford. “2023 Literary Magazine Rankings: Overview.” Clifford Garstang.com, December 19, 2023. 

• Gus. “The Pros & Cons of Working With a Small or Large Publisher.” Publishers Agents Films Website, October 30, 2014.

• Hayes, Payton. “A photo of Nimrod International Journal Fall 2023 issue, Awards 45 on a wooden side table.” December 18, 2023.

• Hayes, Payton. “A screencap of Submission Calendar Blocking in Google Calendar.“ December 18, 2023.

• Hayes, Payton. “A photo of several literary journals and an antique typewriter on my home bookshelf.” (Thumbnail image), December 18, 2023.

• Poets & Writers staff. “Literary Journals & Magazines.” Poets & Writers website, accessed December 18, 2023.

Related topics:

• Book Marketing 101: Everything Writers Need To Know About Literary Agents and Querying

• Find Your Exact Genre, Find Your Lifelong Book Ambassadors by Shayla Raquel

• When Writing Becomes Difficult 

• How To Organize Your Digital Life: 5 Tips For Staying Organized as a Writer or Freelancer

• The 4 Most Useful FREE Apps for Writers in 2022 (Sync Across Multiple Devices, Not Only iOS)

Recent posts:

—Payton

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

Student Art Gallery Hall at OCU

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.

Empty Student Art Gallery Hall at OCU

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

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.

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

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

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

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

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 (detail) by J. NiCole Hatfield, for Making Space: Summer Mural Series Part II. Photography by Brandon Seekins

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

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.

Further Reading:

• Part 1 Exploring Oklahoma Murals Where Public Art Is More Than Paint

• Part 2 Breathing New Life Into Humanities At Rose State College

• 6420 Magazine 

• Find Brandon Seekins Photography

• When did construction begin? 

• Is there an official opening date? Will there be a special opening ceremony or event for the public? 

• COVID-19 Delays Oklahoma Contemporary’s New Location Opening Ceremony

• What is the building’s purpose? 

• Artist VARA Waiver 

Thank you so much to Pablo Barrera for sitting down and chatting with me about Making Space and thank you to Oklahoma Contemporary for making Oklahoma City beautiful. 

And thank you for reading my article on Making Space. If you enjoyed it or found it useful in some way, please consider sharing it or leaving a comment below. I would love to get a discussion going down in the comments on public art in the OKC area. 

—Payton