In 1929 after years of planning, the new Boston Avenue Methodist Church held its first worship service. Soon afterward, a controversy originated about who designed the non traditional, Art Deco structure: Adah Robinson or Bruce Goff.

Join us in watching our very own Teresa Holder as a special guest discussing this topic in a public forum panel talk. She will be speaking with Kevin Adkisson and CPS’s Creative Director, Western Doughty. Tickets are free click here. 

Mark Sisson was invited to participate in The Trumped 2.0 Portfolio, a national lithographic print invitational. Each participant received a boxed portfolio of 30 prints. An additional five portfolios were made to be given to interested public collections. Portfolios have been placed in the following collections: The Library of Congress Prints & Photographs Division; The New York Public Library, Artist Printmaker/Photographer Research Collection, Texas Tech University Museum, Lubbock, TX, Janet Turner Print Museum, California State University, Jules Heller Print Study Room, Arizona State University Art Museum, Tempe, AZ;  Block Museum at Northwestern University, Evanston, IL

Printmaker Richard Peterson organized and selected artists for both the Trump 1,0 and the Trump 2.0 Portfolios

“In 2019, the second volume, “Trumped 2.0” was put together, this time Peterson co-organizing with Beauvais Lyons, a Chancellor’s Professor from the University of Tennessee, Knoxville, who printed the title page/ colophon.  This second volume has many of the same artists and some new faces. The Trumped 2.0 exchange was mailed to participants the week that it was announced that Joe Biden and Kamala Harris won the U.S. Presidential and Vice-Presidential election.

About the portfolio Lyons notes “This portfolio is remarkable for the diversity of the artists who participated, encompassing three generations with many younger artists of color. In presenting artistic images about what they do not like about the Trump presidency, they are also affirming what the presidency should be.” 
 
All prints use lithographic methods and are printed by the artists on 15 x 20 inch archival paper.”

A Companion to Viceregal Mexico City, 1519-1821 presents an overview of colonial Mexico City and the important role it played in the creation of the early modern Hispanic world. Dr. Cristina González’s essay, “Visualizing Corporate Piety: The Art of Religious Brotherhoods,” considers how residents of the city performed their ethnic and social identities through confraternities. Her chapter is devoted to the art and visual culture of these lay religious associations. Research for the essay was supported by the Oklahoma Humanities Council and the Arts and Sciences Research Grant at Oklahoma State University.

  • Visualizing Femme: Curating the Gardiner Gallery Collection will be our first roundtable of the school year, set for August 26th from noon to 1 PM. This presentation will highlight Dr. Siddons providing her experience with curating the collection. Jace Earwood and myself will present our research for the Visualizing Femme exhibition.

Graphex 52, the 52nd Annual Regional Design Award Exhibition, sponsored by Art Directors Club of Tulsa

Congratulations to all our professional Graphex Winners! Graphic design faculty Pouya Jahanshahi was a winner, while Nick Mendoza, and Ting Wang received Honorable mentions for their work in the professional category.

Three nationally renowned judges for Graphex 52 were chosen for their experience and expertise: Winston Elliott, Sr. Designer for Taco Bell's in-house agency, Taco Bell Design; Paula Spence, Art Director and Designer in the animation industry, most recently at Cartoon Network Studios and ShadowMachine; and Fidel Peña of Underline Studio.

Manifest is very pleased to announce that, although delayed by the pandemic, the jury process for the fourth annual Manifest Grand Jury Prize for the gallery's most recently concluded exhibition season (2019/2020— season 16) is now complete.

Season 16 exhibitions in Manifest's East Walnut Hills (Cincinnati, Ohio) spaces presented a total of 471 works by 336 artists from 43 states and 7 countries between September 2019 and August 2020. The Grand Jury Prize finalists were determined by virtue of their ranking in their respective exhibition juries. The Prize featured a pool of 53 finalist works by 50 artists, representing 33 different exhibitions. Details on the exhibits, and all of season 16, can found online at (www.manifestgallery.org/about/schedule16.html).


Out of 53 finalists for the Prize a jury of eighteen arts professionals from across the U.S. selected the winning work. We offer our sincere congratulations to Jessica Teckemeyer for taking the $2500 prize for her sculpture "Fox or Foe" featured in the group exhibition MONSTERS.

Sixteen individual artists and art organizations in M-AAA’s region have been awarded Artistic Innovations grants of up to $15,000 for the creation or production of new artwork. For FY22 (July 1, 2021–June 30, 2022), the projects range from a new play by Nebraska playwright Beaufield Berry about the first Juneteenth to a movement performance (pictured above) that combines lucha wrestling with Aztec mythology for Prism Movement Theater in Dallas, Texas. These grants are made possible through support from the National Endowment for the Arts. 

Assistant Professor James Ewald was awarded a $10,000 grant. his project will be : Flat Land: The History of Oklahoma Skateboarding
Skateboarding in Oklahoma is the focus of James Ewald’s project. Called Flat Land, the project will create a limited edition book and prints about the history of the sport as told through interviews, photographs, unpublished stories, and research about competitions, companies, and more in Oklahoma. The project will include a presentation about skateboarding and the process of the project at the Oklahoma Contemporary Arts Center. This is Ewald’s first Artistic Innovations grant.

For more information on the M-AAA's projects click here.

To see James Ewald work https://www.jamesewald.com

In the second half of the eighteenth century, scientific demonstrations, sponsored by Benjamin Franklin, the Midlands-based Lunar Society, and others, were popular entertainments that said as much about social order as they did about science and technology. Depicted in paintings and popular prints, the social message of these demonstrations was elevated even more. Visual references created witty social commentary, and invited a variety of audiences to find relevance in the artworks. In this talk, Prof. Louise Siddons will take a close look at mezzotints by Valentine Green after Joseph Wright and others, asking how changing audiences affected the interpretation of the imagery in his prints.

Fulbright Lecture: Spectacle and Social Order in ‘Scientific’ Prints – Benjamin Franklin House

Tuesday 13 July 2021, 12pm EST/5pm BST

To Register click here