Friday, October 6, 2017

  • Friday, October 6, 2017 (All day) to Friday, October 27, 2017 (All day)

    This is a retrospective of the work of Tom Manhart , Professor of Art at the University of Tulsa School of Art and many of his students. The exhibit, opening First Friday (Oct 6, 6-9pm, at Living Arts) will run simultaneously with a companion exhibit at the Alexandre Hogue Gallery (Opening Thurs, Oct 5, 2935 E 5th St, Tulsa). 


    Tom Manhart earned his Bachelor of Arts from the University of Tulsa in 1959 then continued his education through a summer session at the University of Hawaii in 1961. From 1955 to 1961, Manhart taught youth and adult classes at the Philbrook Art Center. In 1961, he was appointed to the University of Tulsa faculty. He later earned his Master of Arts from the University in 1968 specializing in ceramics and contemporary American decorative arts. He continued to teach at the University of Tulsa for the next several decades serving as Associate Professor of Art, and eventually served as Professor of Art and Chair of the art program. In 1987, the Philbrook Museum of Art published the catalogue "The Eloquent Object: The Evolution of American Art in Craft Media Since 1945," which he edited with his wife and artist Marcia Manhart. Manhart served as the Guest Co-Curator-in-Charge for "The Eloquent Object" international touring exhibition through the Philbrook Museum of art which was exhibited from 1987 to 1990. For his work with "The Eloquent Object," he received the Ninth George Wittenborn Memorial Award from the Art Libraries Society of North America. In 1989, Manhart was the recipient of the Harwelden Award for Individual Contributions to the Arts and Humanities. Manhart exhibited his own ceramic sculptures and pottery across the midwest in numerous one-person and group exhibitions.

    Participating Artists:

    Linda Allen

    Ruth Armstrong

    Dale Bates

    Janice Bawden

    Bryce Brimer

    Cynthia Brown

    Kevin Byrne

    Frank Campbell

    Ed Davidson

    Bill Derrevere

    Anita Fields

    Dana Gilpin

    Carter Hall

    Janet Hasegawa

    Walter Heath

    Richard Hensley

    Doug Jeppesen

    Jerri Jones

    Kreg Kallenberger

    Steve Liggett

    Jane Lyon (Duenner)

    Marcia Manhart

    Alejandro Marino

    Olivia Marino

    Thomas Marrinson

    John Owen

    Brain Ransom

    Nancy Resnick

    Katherine Ross

    Molly Seay

    Mark Silvers

    Brian Somers

    Laurie Spencer

    Joe Staskal

    Linda Stilley

    Judy Stone-Nunneley

    Barry Sullivan

    Mike Teal 

    Jeff Wells

    John Wissinger

  • Friday, October 6, 2017 (All day) to Friday, October 27, 2017 (All day)



    Corporeal Cadences:

    is a starting point.

    is a gesture towards.

    is a reflection.

    is embodied survival.

    is a process of evoking futurity.


    The women featured in Corporeal Cadences combine the desire to unpack personal and shared histories and research methods in order to produce new narrative(s) within dominant U.S. historical structures and Native American lived experience. Each component of this group show illustrates individuated space held, different forms of research, and unique production methods and media. While artists Shan Goshorn and Jillian Youngbird develop aesthetic material by way of examining their personhood and subjectivity within the complex, racist, and (in)visible Native American figure in U.S. history and contemporary society, Dr.Terri Baker’s work highlights founding Oklahoma women, their stories, and living feminism through a palpably vibrant academic practice.


    Corporeal Cadences is an exhibition designed to articulate details and particularities rather than broad ideas; invite the viewer to engage in research and personal narrative through different methodologies; and locate the producer/subject as an active tapestry of collective past(s) and present/ce.  


    Note: Jillian Youngbird's work will be on display at Living Arts until November 11, 2017.

    Shan Goshorn

    Eastern Band Cherokee Shan Goshorn is a multi-media artist who deliberately strives to choose the medium that best expresses a statement. A long time human rights activist, her recent work consists of traditionally inspired political baskets, which weave words and images together to address issues unique to native people. Her work is included in international collections such as The National Museum of the American Indian (Smithsonian Institution, Washington DC), Denver Art Museum (CO), Nordamerika Native Museum (Switzerland), The Surgut Museum of Art (Russia), Eiteljorg Museum of American Indians and Western Art (IN), Museum of Contemporary Native Arts (NM) and the Heard Museum (AZ). Shan is an active member of the inter-tribal community in Oklahoma where she has lived since 1981 but maintains a strong relationship with her tribe in North Carolina, returning frequently throughout the year. She is the recipient of numerous fellowships including the 2015 United States Artists Fellowship, 2013 Smithsonian Artist Research Fellowship and Eitlejorg Contemporary Art Fellowship 2013.


    Jillian Youngbird

    I grew up in a place where you warsh your clothes and swim in the crick. A small time capsule of community that spit and farmed and could turn out a folksy phrase as easy as one draws breath. It’s a place "all timber and bobcats", as I once heard.

    Being of Native American decent, while growing up in the Ozarks hills formed an interesting narrative in my self-identity. 

    Story-telling has always been an important part of both cultures. In my study of Ozarkian and Native lore I've come to find common threads and motives; different versions of the same story.  This kind of artistic story-telling can function as expression of personal and group identity, as well as providing political and social control. Regardless of whether it tells the whole truth or a romanticized caricature, folklore gives you a vibrant visual history.

    Through the study of nature, history, and folklore and I use recycled and found materials from my environment to create sculpture, photographs and performances that investigate my impact on the natural world and my place between two interwoven cultures.


    Terri M. Baker, Ph. D

    Terri M. Baker, Ph. D. is a retired professor of English and Native American Studies and spent her professorial career in Tahlequah, Oklahoma at Northeastern State University where she served as one of the sponsors of the Native American Student Association for many years and also enjoyed her membership in the American Indian Heritage Committee which sponsored the National Symposium on the American Indian. Baker's professional interest in Native American Studies began when she worked as a research assistant at the Philbrook Museum of Art and that interest grew as she was mentored by professors Theda Perdue and Rennard Strickland. Along with Connie Henshaw, Baker published Women Who Pioneered Oklahoma with the University of Oklahoma Press in 2007. During her career, Baker has published poetry, non fiction literary essays , and has had a play presented at the Choctaw Labor Day celebration. She is currently collaborating on a book withProfessor Carolyn Johnston on the subject of Native American Feminism. Professor Baker is a feminist, an ethnohistorian, a member of the Choctaw Nation of Oklahoma. She lives in the Illinois River Valley with her husband Tom.

    Professor Baker's research practice she says is to read read read, take notes, talk to people who know things and be alert to shared elements. For example John Milton dreamed and he heard in his dream the lines of Paradise Lost. Lone Man dreamed and in his dream a song was given to him. Milton dictated Paradise Lost and published it. Lone Man sang his song to his people and wore the visible sign from his dream.  These two experiences are experiences of the creative voice that speaks to all human beings. Research is how Baker discovers such things. She notices stuff. She is open to human possibility. Having a sense of humor helps. 

    In partnership with the Arts Council of Tahlequah.