BETTER LIVING BY DESIGN: PART ONE

On September 8th, just a few days from now, we will unveil our new modern and contemporary design gallery.



The featured exhibit will be:
BETTER LIVING BY DESIGN: Selected Works from the George R. Kravis II Collection

Over the next week, we want to break this down for you. We will share the stories of the people involved(architect, curators, etc...) and tell you the history on how this all came to pass.

While the collection comes from one source, it has taken the efforts of numerous individuals to make the concept become a reality. So, as we move through these next several days, you will also learn about some of the pieces in the show. Why do they matter? Are they really worth seeing in a museum? Is that an iPod?

Stay tuned!

WE COULDN'T HAVE SAID IT BETTER OURSELVES

This is the sentence that first caught our eyes:

"Before we even moved here to Oklahoma......I knew I wanted to visit the Philbrook Museum."

We try to avoid telling you how great we are all the time. For one thing, we would much rather show you than tell you. And secondly, our coolness is pretty well established. :)

But seriously, there is nothing better than hearing nice things from those who walk through our doors and get first-person reactions to the things we have to offer. Working in a place as magnificent as this, it could be easy to take for granted the things that make Philbrook special to visitors. We try to make sure and never forget how lucky we are to be able to share this experience with the public. Things like this make it easy...

So today, instead of putting the focus on our blog, we would like to spend a few moments talking about another.

http://jessicaandnate.blogspot.com/2009/08/philbrook-museum.html

This blog, simply titled "Jessica and Nate", was brought to our attention by the magical thing that is Google Alert. It's a charming blog and Jessica was so enthusiastic from her experience here that she has even decided to become a docent. No small feat.

See more on that here: http://jessicaandnate.blogspot.com/2009/08/more-philbrook_25.html

We don't know Jessica or Nate. From what we can tell, they are new to Tulsa. So if you are out there and reading this, thank you for coming. Your comments mean so much. And now that you are becoming a docent, you can soon share that enthusiasm with others. The circle is complete.

THE VILLAGE VANGUARDIST?

It happens all the time. You hear or read about something and suddenly, it's everywhere! Purchase a new car and it immediately seems that everyone else is driving the exact same model. It's all about awareness. These things aren't just appearing out of thin air. We just don't notice them until we have a reason to do so.

This can be the case with art as well.

Today's Wall Street Journal has a fascinating article on painter Maurice Prendergast (1858-1924). The piece refers to a current show at Williams College Museum of Art called "Prendergast in Italy" If you haven't yet made it out to our new exhibition, AUSPICIOUS VISION, you might not know that we have a wonderful Prendergast piece on display as part of the show. It's called Landscape with Figures. Not the most original title in the world. But the piece, as you can see, is a stunner.

In terms of style and aesthetics, Prendergast was obviously closer to impressionism than others from the Ash Can School. But he was much more politically motivated.

One interesting passage from the article states...

"When the Italian watercolors and monotypes were shown in Boston and New York, they immediately established Prendergast as a leading vanguardist (and set him apart from other members of "The Eight"—"The Ashcan School"—with whom he was closely associated). That reputation was cemented when he was included in the American section of the 1913 Armory Show, the vast international exhibition that introduced modernism to startled American audiences."

Now, we've talked in previous posts about "The Eight", "The Ashcan School", and the 1919 Armory Show, but what does it mean to be a "vanguardist"?

"In the context of revolutionary struggle, vanguardism is a strategy whereby an organization (usually a vanguard party) attempts to place itself at the center of the movement, and steer it in a direction consistent with its ideology." - from Wikipedia

So it seems that even though most of his works depicted leisurely people in relaxed, comfortable setting, there was much more going on beneath the surface. Through these accessible and somewhat traditional looking works, was Prendergast trying to change society through subtlety?

You be the judge.

THE THRILL OF THE HUNT

NOW AT PHILBROOK:

GEOCACHING!!!


What is Geocaching?

"Geocaching is a high-tech treasure hunting game played throughout the world by adventure seekers equipped with GPS devices. The basic idea is to locate hidden containers, called geocaches, outdoors and then share your experiences online. Geocaching is enjoyed by people from all age groups, with a strong sense of community and support for the environment." -from Geocaching website http://www.geocaching.com/

How can I do this?

Simply come to Philbrook anytime during business hours and get started. You will need a personal GPS device. There is an actual Geocaching app for iPhone. Once you have checked in at the front desk, you will go into the gardens and your search will begin. You will be looking for a container like the one shown here. In that container will be your very own Travel Bug (also shown). And the Travel Bug is much more than a keepsake, it actually does things. Click here.


So while the weather is warm and days are long, come out to our gardens for a little treasure hunt. We are so excited to offer this activity. A treasure hunt at Philbrook. What a great way to spend a day!

THE ART OF SHOPPING

Art and commerce have always gone hand in hand. Artists sell the paintings, galleries and museums buy the paintings. And the wheels on the bus go round and round. This is nothing new.

We also have a commerce aspect here at Philbrook, our gift shop. Now, if you've never stepped foot in the shopper's heaven that is our little store, be aware: this is no airport style knick-knack gallery. We carry hands-down some of the coolest items in the city. From traditional items like books and prints, to modern design items and eco-friendly accessories, there is something for just about everyone.

Every Tuesday we post an "Item of the Week" on our Facebook and Twitter pages. Here you will see some of our favorites and great gift ideas.

So what are you waiting for? Get in here and load up. Christmas is a mere four months away!

NOTE: Members receive 10% off of gift shop purchases.

Root Root Root for the Home Team!

As you can see, this weekend's opening of AUSPICIOUS VISION: EDWARD WALES ROOT AND AMERICAN MODERNISM, brought out Tulsans (and others) in droves.

Come see what
all the fuss is about!

The show runs
Aug 23-Nov 29

Make sure to head over
to our Facebook and Twitter pages
and comment on the show.

BEFORE THEY HAD ACHIEVED MUCH OF A REPUTATION

Do you purchase art? Not prints of well-known pieces from stores that deal in low-cost reproductions. Not Sotheby's-level pieces that cost a small fortune. Just new pieces from relatively new artists. And for no other reason than the fact that you appreciate the work and want to support the work the artist is doing. Do you do this?

In 1957, artist Charles Burchfield said:

"Much has been written, and more will be written in the future, of the importance of Edward Root as a patron of American art, and particularly of his encouragement and support of younger artists before they had achieved much of a reputation."

Edward Wales Root had the money and connections to buy pieces of art that would have been recognized instantly. He could have surrounded himself with familiar names and well-tread styles. That would have been easy. And no one would have paid his actions any mind. In reading about Mr. Root, one comes to the realization that the art was, in many ways, secondary to the friendships born out of the transactions. Root did have some form of intuition that led him to the company of artists whose work would become important, but the smartest thing Root ever did was be in the right places at the right times. It was more about the people, the individual relationships. The fact that the art ended up being amazing, that was icing on the cake. A little bit of luck never hurts.

We often view art as a solitary venture. And the work itself usually is. But a movement is rarely started by a single person. The creation of that movement not only involves the artists, but the buyers, dealers,and general enthusiasts of the work. Edward Wales Root was an artist himself. He never gained the confidence or backing to show his work in public, but the American art world is better off for it. If he had pursued a life as a working artist, the careers of many others may have missed out on having such a fierce advocate.

If Edward Wales Root were alive today and collecting art, what would he be buying?


AUSPICIOUS VISION: Edward Wales Root and American Modernism
AUGUST 23-NOVEMBER 29

FRAMES OF REVERENCE

In traveling exhibitions, most of the attention goes to the actual art. And rightly so. That is the reason people line up and pay money to see these things. But what about the frames? For too long these essential pieces to the viewing experience haven't gotten their due.

Do you notice the frame?

Does the frame change the work?

Do frames matter?

These are all questions you should ask yourself the next time you attend a show. These three images are but a sample of the variety of frames featured in our new exhibition AUSPICIOUS VISION. which runs Aug. 23-Nov. 29

So when you are strolling through the gallery, appreciating the work of Pollock, Motherwell, Rothko, and others, give a little love to the frames. They deserve it!

"FRAMES HAVE ALWAYS BEEN AN INSOLUBLE PROBLEM TO ME."
- Robert Motherwell

For more information see the essay "Trends in Modern American Framing" in the Auspicious Vision catalog.

GRAPHIC MATERIALS: May Not Be Suitable For Those Who Don't Like Cool Things

David Barringer is lots of things.

From his website: "David Barringer is an author, freelance writer, graphic designer, photographer, and artist. He grew up in Michigan. He now lives with his family in North Carolina."

Many people aspire to do one thing well. Maybe two things. But somehow, David Barringer has been able to succeed in nearly every field he has cared to pursue. Still not convinced?

David Barringer is...

• The designer of Opium magazine, one of the coolest publications around.
• Contributing writer to AIGA's Voice.
• Creator of the Dead Bug Funeral Kit
• Author of the novels Johnny Red and American Home Life
  and much much more!

His latest book, There's Nothing Funny About Design, has been hailed as "thought-provoking", "bluntly personal", and "exciting".

We are so excited to be hosting Mr. Barringer for tomorrow night's Third Thursday event.
This is one of the most interesting guests we've ever had, we hope you will join us to find out why.

For more info on this event and the Third Thursday program: Click Here

DAVID BARRINGER
THURSDAY, AUG. 20th 6:30
PHILBROOK MUSEUM OF ART
Free with museum admission

THE CATALYST

People buy art for all kinds of reasons. Some buy it for love of the work, while others see it as an investment for the future. And sometimes, both cases are true. But Edward Wales Root was something different. Of course he loved the pieces he purchased, but more than that, he wanted to make sure that the artists could afford to keep making art.

The first art Edward purchased was a 1908 painting by Ernest Lawson called Winter, Spuyten Duyvil. FYI, Spuyten Duyvil is a small subsection of the Bronx in New York City. The piece (as you can see) depicts a snow-covered landscape with barren trees and empty roads. In yesterday's posting we talked about The Eight, a group of artists that helped define early 20th century American art (and make up a good portion of Root's collection). Ernest Lawson was part of this group and this piece was included in a famous show at the Macbeth Gallery in 1908. But the show was not the financial boon the artists had hoped it might be. When Root discovered that Lawson was teetering on the brink of poverty, he bought the piece for $250, pulling his friend back from the edge of financial ruin. Lawson was relieved. Root was hooked. His life as collector had begun.

This piece, along with 226 others, makes up the collection Edward Wales Root left behind.
50 of these pieces will be on display here from August 23-November 29 as part of the exhibition, Auspicious Vision: Edward Wales Root and American Modernism.

THE EIGHT

Over the next few days, as we inch closer and closer to the opening of our great new exhibition, Auspicious Vision: Edward Wales Root and American Modernism, we want to spend some time talking about the different schools/styles of art that make up this show.

First up...The Ashcan School

The Ashcan School, also called the Ash Can School, is defined as a realist artistic movement that came into prominence in the United States during the early twentieth century, best known for works portraying scenes of daily life in New York's poorer neighborhoods. The movement is most associated with a group known as The Eight, whose members included five painters associated with the Ashcan school: William Glackens (1870-1938), Robert Henri (1865-1929), George Luks (1867-1933), Everett Shinn (1876-1953) and John French Sloan (1871-1951), along with Arthur B. Davies (1862-1928), Ernest Lawson (1873-1939) and Maurice Prendergast (1859-1924). -From Wikipedia, the free encyclopedia

Several of these artists are featured in the show. And not only that, Edward Wales Root actually studied with Robert Henri and George Luks, though he never showed his art publicly.

Q: Why was it referred to as Ashcan?
A: Because art could be found in the "ashcans" of dirty cities.

One member of The Eight, Arthur Davies, was the driving creative force behind the legendary 1913 Armory Show. Aside from the Ashcan crowd, the show also featured the likes of Picasso, Cezanne, Matisse, and others. It was this show that popularized the term "modern art".

Q: How many Americans are said to have seen The Armory show?
A: Over 300,000

The central location for The Eight was none other than Philadelphia, PA. Quite a few of these artists were illustrators for newspapers and other local publications. It was this newspaper mentality, the realist eye of journalism, that led to the choice of topic by this group. The Eight were to early 1900's Philly what The Wire was to early 2000's Baltimore, realistic social commentary told through a visual medium.

While it's easy to look back now, a century later, and see the value in what these artists were doing, we have to remember how much they were pushing the envelope at the time. Rebelling from the tameness and lack of social relevance provided by impressionism, while paving the way for the abstract expressionists, THE EIGHT CANNOT BE FORGOTTEN.

Q: When does the Auspicious Vision exhibition begin?
A: Sunday, August 23rd

ROOT WORDS

The new exhibition we have opening on August 23 is called AUSPICIOUS VISION: EDWARD WALES ROOT AND AMERICAN MODERNISM. It's a mouthful. But when the show is in full swing and word is getting around, the show will more likely be referred to like "Hey, have you seen Auspicious Vision at Philbrook?" or more simply "You've got to check out the modernism show at Philbrook!".

The names of these exhibitions are often truncated by the public. We do a great job getting the word out about what we do here, but there are no marketing or PR strategies that can hold a candle to an enthusiastic one to one personal recommendation. So the really important step on our end is making sure we bring in shows worthy of such a recommendation. Now, let's talk about that name again. The second part anyway. You know, the part that usually gets ignored. The "American Modernism" bit is easy, it is a direct reference to the style of work the show represents. Pollock, Motherwell, De Kooning, Rothko, and many others complete this impressive roster. But what about the "Edward Wales Root" part? Who was he? Why is his name in the show?

From 1902 to 1953, Edward Wales Root (1894-1956) amassed a spectacular collection of contemporary American art which became the cornerstone of the Munson-Williams-Proctor Art Institute collection with his bequest of 227 works in 1957. Aside from being one of the greatest collectors of the 20th century, Mr. Root was also a teacher and accomplished artist in his own right. And talk about casting a shadow, his father, Elihu Root, won the Nobel Peace Prize in 1912. For more information on Edward Wales Root, click here.

Throughout his life, Root spoke and wrote eloquently about art, life and the connection between the two. Here are some of his thoughts in his own words...

"To show youth only what the past has discovered is to suggest that emotional and mental growth are over, that we of today have become unproductive, capable only of receiving from the past, incapable of giving to the future."

"New things are happening. I don’t know that I understand them or that I like them. But I must find out. I must buy them and try to find out."

"We should encourage contemporary American art. When you have done that, then you are building a country."

"These artists…seemed to me to have a special feeling for their medium and to be making a serious effort to develop new modes of expression."

"[Art] is in part to be explained by, and in part explanatory of, the conditions amidst which it was created."

"Where does sensation end and spirituality begin? Who can say?"

AN IRRESISTIBLE URGE

So we have these notebooks. We put them out at the beginning of exhibitions where they stay for the duration of the show. The purpose of the books is to collect comments, concerns, ideas, and/or whatever else a guest may want to share about their experience.

These 2 books, from our recent exhibitions Peggy Preheim: Little Black Book & From Michelangelo to Annibale Carracci: A Century of Italian Drawings. The majority of the comments seem to have come from young people. They range from serious to silly and everything in-between. But sprinkled throughout the pages are multiple doodles and sketches. Here are a few samples...

Albert Einstein once said, "True art is characterized by an irresistible urge in the creative artist.”
These little sketches are the embodiment of what he meant by "irresistible urge". So while these pieces might not go for much at Sotheby's (yet), they are the definition of true art. They were created out of a simple desire to put pen to paper and express something. It doesn't matter what is being expressed or why. Perhaps being surrounded by art fuels the need for certain people to create their own.

So the next time you're here for an exhibition, after you've walked the galleries and seen what the show has to offer, keep an eye out for these notebooks. Read them, write in them, draw in them, whatever you want. Our hope is always that when you leave, you take a piece of the museum with you. It could be a favorite piece that you just can't shake, or a memory that we were lucky enough to be the setting for. These little books are just a small way for you to leave something for us. We even provide the pens!!

A FEW WORDS ABOUT THE LONGEST STORY EVER

Outside of Time's annual Person of the Year issue and the occasional scandalous tell-all Vanity Fair story, magazines don't get much media play. One publication that has bucked that trend in 2009 is OPIUM magazine. Earlier this year, the magazine released an issue dedicated to infinity. And they also tried something interesting...
From the Opium website:
"In honor of the number infinity,
Opium presents the longest story ever told,
written in nine words and revealed over the next millennium, one word per century."

This strange little idea was one of those things that the media grabbed onto almost instantly, one of those stories that fits well between the serious and the utterly frivolous ends of the spectrum. But how exactly would you go about doing this? San Francisco-based conceptual artist Jonathon Keats was tasked to make this happen. No easy job. But this is how it was done: the story was printed with a double layer of black ink. There was an overlay screening the nine words, with each word printed in different ink. One by one, each word is fractionally more vulnerable to ultraviolet light. So when the magazine is exposed to sunlight, the words will "magically" appear. One word per century. 1000 years.

If you aren't familiar with this magazine, one of the most impressive things about it is the design.
The man in charge of that is Design Chief and Executive Editor, David Barringer. Mr. Barringer will be a guest for our wildly popular 3rd Thursday program on August 20th from 6:30-8pm. His most recent book, There's Nothing Funny About Design, is a must-read for anyone with the slightest interest in the topic.

We hope you can join us for this great event!

Note: We will have some sample copies of OPIUM magazine for your viewing pleasure, including the infinity issue.

For more info on David Barringer go to www.davidbarringer.com

To hear a cool NPR piece about OPIUM magazine: http:
//www.npr.org/templates/story/story.php?storyId=106007588

MAD FOR MODERN

GEORGE R. KRAVIS II DESIGN COLLECTION / SELECTED WORKS / OPENS SEPT. 8th


It's funny how nothing ever seems to go out of style forever. Rather than hitting delete on a certain fad or trend, more often than not, the pause button is pushed until a later date when relevance can be regained.

Next Sunday marks the premiere of the third season of the popular television program Mad Men. Few programs in recent history have had such a large cultural impact with such a small audience. Mediocre shows like Ghost Whisperer and Medium have much larger weekly audiences. But if you were to look at the presence of Mad Men-related items in the popular culture, you would have to assume that it's one of the biggest hits on the air.

The show's reach has extended to things like hairstyles, clothing, cocktails, and especially modern furnishings. You can see subtle and not-so-subtle attempts by stores like Pottery Barn and Restoration Hardware to catch some of this energy and run with it. Even locally, the show's impact can be felt. A recent tour of Mad Men-era homes in the Lortondale neighborhood of Tulsa was a hipster hot spot. http://www.moderntulsa.net/tag/lortondale/

On September 8th, we will debut 50 selected works from the 100 piece collection of modern and contemporary design donated by George R. Kravis II. This collection and show will provide an entirely new experience for visitors and gives a glimpse into the museum's future.

Who ever said that pleasure wasn't functional?
-Charles Eames

EVERY PICTURE TELLS A STORY

This photograph, taken in 1950 by Nina Leen, is called The Irascibles.

Irascible |iˈrasəbəl|
adjective

(of a person) easily made angry.
• characterized by or arising from anger : their rebukes got progressively more irascible.

The Irascibles are as follows:

Willem De Kooning;Jackson Pollock;Adolph Gottlieb;Ad Reinhardt;Robert Motherwell;Clyfford Still;James C. Brooks;Hedda Sterne;Jimmy Ernst;Bradley Walker Tomlin;Richard Pousette-Dart;Barnett Newman;Theodoros Stamos;William Baziotes;Mark Rothko

Eight of these artists are featured in our upcoming exhibition, AUSPICIOUS VISION: Edward Wales Root and American Modernism (Aug. 23-Nov. 29, 2009). But why were they dubbed "irascible"?

Most of these artists lived what could best be described as tumultuous lives. Pollock was dead by 44. Rothko committed suicide in 1970. Ernst's mother was sent to her death at Auschwitz. It's somewhat amazing that De Kooning, who was a legendary alcoholic, lived into his early 90's.
Troubled yes, but irascible? Perhaps. Notice that not one of these artists has anything close to a smile on their faces. You can almost feel that the moment after the photo was taken, they broke apart like shrapnel from a mine, each loner going their own direction.

Art, for this group anyway, was not a team sport. They certainly liked to talk and drink and spend time together, but collaboration was not in the cards. That would change a bit in the following years with the likes of Jasper Johns and Robert Rauschenberg, but not much.

Although this was a "group" photograph, the reason for the artists' particapation was mostly in self-interest. That same year, these artists, along with 14 others, signed a letter to the president of the Met in New York, basically complaining that the museum's view of contemporary art left most of the absract expressionists out in the cold. They wanted in. The protest caused enough stir to interest Life magazine (where this photo first appeared), but the changes did not come swiftly.

A few years later, in 1953, The Met displayed 134 contemporary works from the private collection of Edward Wales Root. But it wasn't until The Met's 1969 exhibition, New York Painting and Sculpture: 1940-1970, curated by the amazing Henry Geldzahler http://en.wikipedia.org/wiki/Henry_Geldzahler, that the museum made a real entrance into the world of contemporary art (even though some of it was already decades old). This was 19 years after the "Irascibles" gathered for this photograph. 4 of the artists were already dead by 1969. Several others would be within 5 years.

Many of us look at these pieces now and think, "Why wouldn't anyone see the value in this?" But there was a time, not too long ago, when dripping paint on a canvas or painting three bars of color seemed like the antithesis to "real" art. Doesn't that make you a little irascible?

What is Philbrook's Mona Lisa?

Many museums around the world have one or two pieces that become synonymous with the institution. No example of this is more obvious than the unbreakable bond between The Louvre and Mona Lisa. If someone were to ask, "What is Philbrook's Mona Lisa?" the answer from many would surely be Bouguereau's The Little Shepherdess (1889).

The piece was acquired in 1947, less than a decade into the museum's existence. So she's been around here for quite some time. Generations have come and gone, yet she remains. Those born the year she arrived are nearing retirement and likely have grandchildren of their own. Prints of The Little Shepherdess are by far the most popular in our gift shop. We have postcards, magnets, and even mints, yes mints. We embrace the piece as much as the community, if not more.
But Philbrook is much more than The Little Shepherdess. We are abstract, video, artifacts, works on paper, sculpture, design, gardens and numerous other things. Who knows, 30 or 40 years from now, we may be known for some video installation or lawn sculpture. It's impossible to know which piece will separate from the pack and mesh with the general public. We might not even have it yet.
Whatever your tastes may be, you will find plenty of things to enjoy and others that may open doors into interests you never knew you had.

"...I do not want art for a few; any more than education for a few; or freedom for a few... "
— William Morris

SOUTHWEST WARHOL?

More often than not, when someone refers to art, they are talking about the end result. A painting, a sculpture, a song, a building, you get the idea. But for some artists, the process is the art. German printmaker Gustave Baumann (1881-1971) was one of these artists. The end results are great, of course, but they cannot be fully appreciated without knowing how they were created.

His specialty, color woodblock prints, is a time-intensive process in which a drawing is made and then blocks are carved, the number based on the amount of colors intended to be used in the print. Then, one by one, the raised design on each block is inked and pressed onto the paper. The results, especially in Baumann's case, are stunning. The colors. It's all about the colors. Those yellows, blues, greens, and all the rest, showing the landscape of the Southwest in a vibrant and fresh way that is unlike so much art from that region.

The Color Woodcuts of Gustave Baumann runs through Oct. 11, 2009

Most of the pieces in this exhibition are from the Eugene B. Adkins Collection of Western and Native American art. The collection includes nearly 300 prints and drawings, including 40 by Gustave Baumann. You have to wonder, if Andy Warhol had been working in the Southwestern U.S. in the early 20th Century, how Baumann-like would he have been?

"Draw directly on the block whatever you want, then cut away whatever you don't want and print what is left" -Gustave Baumann

The above quote, from the man himself, makes his process sound so simple. But the truth is that few artists have contributed to printmaking as much as Gustave Baumann. And all of the detail and dedication he brought to his work are evident in the pieces we have on display. Come see for yourself!

ROBERT DE NIRO AT PHILBROOK (NO, NOT THAT ONE)

The walls of Philbrook are lined with pieces by the likes of Picasso, Dufy, Wyeth, Hogue, Corot and others. But one name you might not expect to see is that of Robert De Niro. Before his son became an acting icon in films like Taxi Driver and Raging Bull, Robert De Niro Sr. was already a well-established painter in the abstract expressionist movement. He died of cancer in 1993. He was 71 years old.

His 1963 piece, Still Life with Plaster Cast and Black Fan, was aquired by Philbrook in 1970 as a gift from Benedict Lubell. It is currently on display on our upper level.

In July it was announced that several of his pieces were sold as part of an art scam in New York City. As a result, De Niro Sr.'s estate suffered a loss of more than $1 million. This is not the kind of press anyone wants, but it does give some much-needed attention to an important 20th Century artist whose achievements have been somewhat obscured by those of his son.

Come out and see this piece for yourself.

For more information on Robert De Niro Sr.: http://en.wikipedia.org/wiki/Robert_De_Niro,_Sr.

AN IDEA IS A SEED

Lately we've been getting some wonderful media coverage for our food garden and our partnership with the Community Food Bank of Eastern Oklahoma. It's been featured on NPR, in print, on television, and nearly every other format. And this is a project that deserves every bit of the attention it gets. To date, the garden has yielded over 100 pounds of food.
But one aspect of the garden that hasn't gotten as much play is that fact that it was born from a conundrum of sorts. The past year has been difficult for everyone, economically speaking. Families have seen debt grow and savings shrink. Charities and other non-profits have taken a huge blow as well. There is simply less money coming in.
The south formal garden here at Philbrook covers 3,600 square feet. Earlier this year, we realized that we did not have the funds to plant the garden in the traditional way. It would have been easy to do nothing. People would have understood. We could have closed it off until the funding arrived. But then and idea was born. A seed was planted (lots of seeds actually). Soon enough, roses and tulips were replaced with squash and watermelons. And now, the garden is more alive than it's ever been. And not just that, it's relevant. We've all heard that famous Keats phrase, "A thing of beauty is a joy forever." When it can also provide two components of a BLT, now that's even better.

For more info: http://philbrook.org/press/article.cfm?id=45

While Listening To The Painters Argue and Gossip

Poet Frank O'Hara once wrote:

"We were all in our early twenties. John Ashbery, Barbara Guest, Kenneth Koch, and I, being poets, divided our time between the literary bar, the San Remo, and the artists’ bar,
the Cedar Tavern. In the San Remo we argued and gossipped: in the Cedar we often wrote poems while listening to the painters argue and gossip. So far as I know nobody painted in the San Remo while they listened to the writers argue and gossip."

Every artistic movement seems to have it's hangout. The hippies had The Haight in San Francisco. Punk rockers had CBGB. And the painters of the abstract expressionist movement had the Cedar Tavern in Greenwich Village. Pollock, de Kooning, Kline, Rothko; they all smoked about a billion cigarettes and drank a sea of spirits in this legendary dive.

For more info on the Cedar Tavern: http://en.wikipedia.org/wiki/Cedar_Tavern

To see the work of some of the Cedar's most infamous patrons, visit us August 23-November 29 for AUSPICIOUS VISION: EDWARD WALES ROOT AND AMERICAN MODERNISM.