Richard A. Bivins (1939-2018)


Richard A. Bivins was born on October 21, 1939 in Shidler, OK, to Walter and Jesse Bivins. He finished high school in Barnsdall, OK, and then went on to study art at Oklahoma State University, completing his BFA in Studio Art in 1961.

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Associate Professor Louise Siddons was awarded the Davidson Family Fellowship at the Amon Carter Museum to work with the Laura Gilpin archive. She will be in residence at the Museum in October 2017.

Associate Professor of Art History Louise Siddons was awarded a 2017 National Endowment for the Arts grant for her forthcoming book on artist J.J. McVicker.

Associate Professor of Ceramics Brandon Reese's exhibition opens in July 2017 at the OSU Museum of Art.

Congratulations to Associate Professor of Art History Shaoqian Zhang, who won the 2017 College of Arts and Sciences Junior Faculty Research Award.

Congratulations to Professor of Painting Liz Roth, who won the 2017 Wise-Diggs-Berry Award for excellence in the Arts.

Louise Siddons, Associate Professor of Art History

  • 2017 National Endowment for the Arts (NEA) $20,000 grant to support a traveling retrospective exhibition of Oklahoma modernist painter, sculptor, and printmaker J. Jay McVicker. The grant will also fund the first scholarly book to survey McVicker’s career.

Irene Backus, Assistant Professor of Art History

  • Berenson Fellow, Villa I Tatti Harvard Research Center (International), 2016

Phil Choo, Professor of Graphic Design

  • Excellence Award for OSU MFA brochure, 46th Annual University and College Designers Association Design Competition, 2016.

Pouya Jahanshahi, Assistant Professor of Graphic Design

  • NY Designs Fellowship (Design Incubator), New York, NYC, 2016
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Nov. 9, 2015 - March 12, 2016

Luxury. Accumulation. Alienation from nature. These topics, considered from a gendered perspective, are what artist and OSU Associate Professor Angela Piehl invites us to explore through paintings and drawings featured in this exhibition. Using a wide range of sources, Piehl employs images and photographs of both designed and natural beauty as a starting point for abstracting and re-combining elaborately decorative, even at times grotesque, elements. References to organic materials such as flesh, hair, tentacles, eggs, fat, bone, muscle, crystalline structures, and wood appear alongside her choices of color, pattern, and textural artifice to produce what Piehl calls "feral bouquets." At once engaging and seductive, while also repellent and abject, these biomorphic abstractions address multiple layers of the human condition through their allegorical and narrative allusions.

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