In TAF Announcements, Uncategorized

Tulsa is a city mobilized by the transformative power of the arts. We welcome residents and visitors to engage with the groundbreaking work created by Tulsa Arts Fellows within turnaround: A Tulsa Artist Fellowship Project. The two-day program will include large scale and site responsive art installations, performances and interactive experiences. Open to all ages with free admission, turnaround is a collaboration with Tulsa Tough’s GKFF Arts District Criterium and athletic club Soundpony.

Tulsa Artist Fellowship is a civic enhancement initiative of the George Kaiser Family Foundation (GKFF) located in Tulsa, Oklahoma. GKFF is dedicated to equal opportunity for children through support for programs in parent engagement, early education, family well-being and enhancing Tulsa’s quality of life. A vibrant arts scene is one of the key elements of this strategy and by providing support to artists and arts workers, Tulsa Artist Fellowship aligns with GKFF’s mission to promote equal opportunity for all.


First Friday Arts Crawl // True Turn Building, 421 N. Boulder Ave. // Friday, June 7 // 6 to 9PM
After-Party // Fellowship Cameron Studios, 303 N Main St. // 9PM+
Saint Francis Tulsa Tough’s GKFF Arts District Criterium // Saturday, June 8 // 10AM to 9PM


George Kaiser Family Foundation, Tulsa Community Foundation, Saint Francis Tulsa Tough, Team Soundpony, Lilly Architects, Elote Cafe & Catering, Integrity Lighting, Tulsa Stage & Top, Holloway Construction 


Fair Plus, 2019 // Dan Farnum // Fair + is an investigation into the recent Tulsa Development Authority’s report called The Greenwood-Unity Heritage Neighborhood Sector Plan and the related blight study of north Tulsa. Change is not fundamentally a bad thing. Parts of Tulsa’s north side are in need of support, which categorically includes housing and infrastructure. I think there is an opportunity to redevelop the area while also including the voices of the existing community. Although, the TDA’s study established that an entire neighborhood could be labeled as blighted if parts of that area fit specified legal criteria, which could displace residents. Some of the text and images used in the original document are also problematic in regard to perpetuating systemic divisions. Fair + is an interpretive piece that sheds light on the potentially problematic nature of urban renewal in Tulsa and questions the mindset of people leading those initiatives. This work incorporates aspects of the past and present while also considering the future of the city.

Your Ad Here, 2019 // Eric Sall // “Your Ad Here” incorporates a recycled billboard vinyl as the canvas for a monumentally scaled abstract painting. The content of the advertisement, both formally and conceptually, are unknown to me until I unfold the massive banner at the True Turn building, where the message and related imagery will serve as the jumping off point for my painting. 

Addressing issues of scale, form and content, “Your Ad Here” will unfold intuitively as I respond to the retired advertisement in an improvised process. 

Whether the contents of the billboard banner become completely obscured or are allowed to peek through and become part of new painting are to be determined ad hoc.

Nahasdzaan bil hadilyaa // Sterlin Harjo, Blackhorse Lowe & Nathan Young // Made with the Earth is a site-specific reimagining of indigenous cosmologies that uses the four primary elements (water, fire, earth, air) to explore the themes of power and transformation. 

The video uses visually rich and psychedelic imagery to form a complex visual language or codex signifying a cosmology of hyperobjects or “things that are massively distributed in time and space relative to humans.” 

Meet me in my dreams, 2019 // Kalup Linzy // “We met in a dream. Our souls were redeemed. He loved me in his daydreams…Please tell me this is love all over me? No, no, no, it’s just my pillow.” Lyrics taken from songs that will be performed by Kalup Linzy performing as his alter ego Kaye in ‘Meet me in my Dreams’. Wearing hand painted clothes by another one of his alter egos Katonya, Linzy will be accompanied by a group of Tulsa musicians. Tunes to be included in the setlist are originals “Asshole” and “Comeback,” as well as a cover of “Proud Mary.” Expect an irreverent, melodramatic, raunchy, poignant performance.

5 Cycles + 1, 2019 // Atomic Culture // During our 2019 fellowship, Atomic Culture is programming a series of interventions which examine the terms or ideas surrounding reconciliation and reclamation through the intersection of art.  By surveying the histories of Tulsa and in collaboration with artists whose narratives push up against the legacies of hegemonic and colonial structures embedded in our communities — we will explore what it means to seek alternative experiences of place and time. How are artists reconciling and reclaiming space? We aim for each gesture to open a forum for interaction and expanded dialogue. Our first program, invites Red Culebra to perform at the opening of turnaround.  

Red Culebra is a Moog duet and collaboration of bay area electronic musicians and performance artists led by gal*in_dog aka Guillermo Galindo and Cristóbal Martínez. 

Red Culebra’s performance art includes sound invocations, moving images, and movement by performers. Inspired by their complicated Post-Mexican backgrounds, Galindo and Martinez create and perform rituals based on cycles of repetition and uniformity. The sonic, graphic, and repetitive nature of their work requires both endurance and determination from their audiences, while denying participating publics the opportunity to fetishize ceremony.

Kelp Explosion, 2019 // Sarah Ahmad // Kelp, the “underwater forests,” grow in shallow ocean waters providing food and underwater habitats for many species and absorbing carbon emissions. Kelp forests are the trees of the ocean. Due to warming ocean temperatures, they are disappearing fast, endangering marine life. 

I am captivated by the kelp with its giant leaves floating in the waves, tangled up in a mass or torn up into fragments as it washes ashore, its translucent jelly-like bulbs and leaves glistening on the sand. It dries up in the sun very fast, losing its slippery texture and yellowish green colors. 

In this work, impressions of kelp and sand were recorded on paper using the Cyanotype printing process. Reaching into the water grabbing the masses floating loose on the waves on their way to the shore, I scattered them on paper that was coated with the photo-sensitive solution, exposed it to sunlight, and rinsed off the solution, recording impression of the kelp and sand. 

It was created on the beaches in Los Angeles with nature working as a collaborator in creating the work. The work is a giant kelp explosion, like a star bursting in the deep blue sky, a large burst of glory, a homage to the beautiful kelp forests.

Basalt, 2018 // Shane Darwent // Basalt is a sculptural arrangement that uses the visual language of contemporary storefront awning production to reference a stone sculpture by the modernist artist and designer Isamu Noguchi. In Noguchi’s sculpture Bindu, from 1966-67, he carved a single piece of basalt rock to appear as if it was two separate halves that had come together in the creation, or dissolution, of a unified whole. The sculpture Basalt locates the formal and poetic offerings of Noguchi’s Bindu in the unlikely architectural system of the storefront awning. 

Storefront awnings – those ever present fabric covered canopies that line building facades from strip malls to Main Streets – are in Basalt liberated from their building hosts, stacked on end and nested into each other creating a massive mirroring of Noguchi’s table top stone sculpture.

If Bindu, carved from a single igneous rock, is imbued with the strength and age of its material – basalt, then Basalt the sculpture embraces the impermanence of its own construction. However expertly crafted, the fabric covering of storefront awnings will inevitably fade and wear with time. Basalt was fabricated by Awnings of Tulsa using the same processes that are employed in the shop’s day to day operations. For this project the normally efficient and commercial pursuit of awning fabrication was disrupted into a speculative, sculptural gesture. The result is a monumentally scaled work that is not carved basalt or cast bronze, but one as lightweight and seemingly precarious as the ever shifting economic landscape from which they were born.   

Selvedge/Salvage, 2019 // Molly Murphy Adams // Creating fabric banners from the waste scraps leftover from garment design and quilting. Murphy Adams has sourced and will be sourcing donations of scrap fabric from fashion designers, artisan garment makers, quilters and home based seamstresses.  These scraps will be sewn together in an intuitive process to create 4ft wide and 30ft long fabric banners.  At the public hours at the True Turn Building the public will be welcome to participate in piecing the scraps together and designing the banners with the scrap fabric.  Murphy Adams will be actively working on the project at the site with two sewing machines and welcomes public participation.

Tell Me a Story, 2019 // Jennifer Hope Davy

Imaginary Construct, 2019 // Hoesy Corona // Hoesy Corona’s uncategorized works draw from his personal experiences as a queer Latinx immigrant in the United States. His works oftentimes confront and delight viewers with some of the most pressing issues of our time. Recurring themes of race/class/gender, otherness, celebration, isolation, and the climate crisis are all present throughout his work. Imaginary Construct is a large-scale site-responsive installation that was made using hand cut black and white vinyl letters that deconstruct the word “white”. The letters are then adhered to a clear substrate. Making the invisible, visible. 

Imaginary Construct is a part of the ongoing series White Constructions, begun in 2016, in which Corona considers the arbitrary and deliberate construction of race in the United States and its negative effects on black and brown people. Insisting that the hierarchy of one’s racial profile in the US is not innate, or natural but is instead a deliberate social construct by the powers-that-be in an effort to subjugate non-white people. Imaginary Construct reminds the viewer that language is alive, used to craft the world, and can be constructed or deconstructed at any given time to change the way we relate to each other.  Imaginary Construct invites us to reconsider and reconstruct our personal, political, and national relationship to the faulty and dangerous notion of race. 

Not Enough! Queer & Trans Music and Art Festival // Edgar Fabián Frías // As one of the original co-organizers of the Not Enough! Queer & Trans Music and Art Festival,  Tulsa Artist Fellow Edgar Fabián Frías and their partner, Thaddeus Pedisich, are setting the intention to bring this prolific community-oriented festival to Tulsa in 2020. The festival existed between 2010 to 2015 and had over six iterations around the city of Portland, Oregon. It has since spread to Detroit, New Orleans, Oakland, Winnipeg, Edmonton, and other cities throughout the US and Canada. As a way to inaugurate this intention, Frías and Pedisich are hosting at showcase of LGBTQIA+ performers at the Cameron Studios in downtown Tulsa. Featuring “America’s Leather Band” Plack Blague from Lincoln (NE), electro sounds from Bustiéfrom Los Angeles (CA), frenzied mutant synth punk from Frías and Pedisich’s project GayCay and intensely beautiful music from Tulsa-based musicians Astrophoria. The event will be on June 12, 2019 starting at 9pm at the Tulsa Artist Fellowship’s Cameron Studios located at 303 N Main St. Tulsa, OK 74103. 

In the ethos of the Festival’s do-it-yourself background, Frías and Pedisich will be tabling at Turnaround: A Tulsa Artist Fellowship Project, which will happen on June 7th and 8th. They will be providing visitors with information about the history of the festival along with their intentionsto bring it to Tulsa in 2020. They will also utilize this opportunity to distribute a flyer for the aforementioned showcase which will be happening a few days after the Turnaround project.

Children’s Booth // Christa Romanosky // Christa Romanosky is a writer and educator from Pennsylvania. She has been developing and teaching arts and STEM curriculum for K-12 students in schools and at universities for the past ten years. The Children’s Arts & Writing Booth is a free and interactive table for children of all ages to explores the arts. Young aspiring artists and writers can talk to artists established in their careers, or stop by and simply make art! Activities include poetry, visual arts, journalism, and STEM/arts. Several drop-in workshops led by Tulsa Artist Fellows will occur throughout the festival. Friday night, Karl Jones will be providing a workshop on puppet-making from 6-9pm. On Saturday from 1-2pm, Olivia Stephens will be providing a cartooning workshop. Ongoing activities will be led by Tulsa Artist Fellows M. Molly Backes, Kristi Eaton, Simon Han, and Christa Romanosky.

Main Streets of Oklahoma // Kristi Eaton // A native of Tulsa, Kristi Eaton couldn’t wait to see what the world offered. She left Oklahoma for university and for various jobs in the news industry in 2004. In 2013, she returned to Oklahoma City for a year for a journalism position and decided to take the time to learn about her home state. 

She’s always been fascinated by small towns, roadside attractions and entrepreneurs. That’s where the idea for a book about Main Streets in Oklahoma came from. “The Main Streets of 

Oklahoma: Okie Stories from Every County” features a unique person, place or historical element along a Main Street in each of Oklahoma’s 77 counties. 

From well-known Route 66 landmarks like the Rock Cafe in Stroud to a museum dedicated to the movie “Twister,” “The Main Streets of Oklahoma” highlights the unique pieces of Oklahoma’s fabric. Kristi has worked in Mexico, Samoa, Cambodia, China, Thailand, Myanmar, India, Sri Lanka, Indonesia and Zambia and is proud to have the opportunity to return to Tulsa as a Tulsa Artist Fellow. 

Jewel (Heart), 2019 // Rachel Hayes // Miles of nylon are threaded with reflective acetate, hand crocheted, then delicately woven into a basket like form built from corroded steel found on my friend’s farm near Tulsa. This jewel-like tower functions as an architectural ‘heart’ for the building, at once beautiful and gory, delicate and strong, pulsing light and energy through the space. This macro sculpture has humble beginnings as I crocheted yards of plasticine colors together, wrapped them around a scrap of fence during a beautiful South Dakota sunset, and took a photograph. This is my attempt to translate an ephemeral moment in time into solid experience.

Coming Together and Falling Apart, 2019 // Carrie Dickason // “No matter what we do to hold ourselves together, the truth is that we are always falling apart.” –Sakyong Mipham 

For several months, I’ve been collecting plastic straws, zip ties, construction debris- various disregarded items, from downtown Tulsa. These colorful bits remain from the many festivities and happenings in the Blue Dome and Arts Districts. Wind and water carry the lightweight particles across streets and parking lots until they accumulate by curbs and near fences along the railroad tracks. At a glance, this detritus may read as blight, however it’s also evidence of gatherings, conversations, and growth in our city. These materials exist from thousands of years of human innovation and technology made from ingredients mined from the earth, and also becoming inherently present within every ecosystem, as well as within our own bodies. 

Plastic makes our lives easier in many ways, and allows us to experience many ‘conveniences’ associated with consumer society. My long-term relationship using plastic as an art-making medium is an ongoing attempt to understand the complexities of this petroleum-based substance and the effects it has on the planet. 

In April, Oklahoma Governor Kevin Stitt, passed a pre-emptive ban on banning disposable plastic bags. Thankfully, this law doesn’t prevent individuals from refusing to use them. We can choose to make more conscientious decisions that will positively impact our current communities and those of the future. 

Individual choices and moments weave together into an interconnected web of life. Minute by minute, the cosmic mirror reflects these choices back to us. While many corporate policies choose to ignore their own reflections, we do not have to be so myopic. Nothing is held in isolation. 

the land keeps the score, 2019 // Jessica Harvey // Dig deep. The land keeps the score.

Using institutional and personal archives, Jessica Harvey conducts long-term investigations of historical and personal events based on the interpretation of facts, which often changes by the person doing the narration. She reinterprets these stories with the use of photography, video, archival resources, and objects constructed from everyday materials. These images and installations act as a catalyst for a fantastical exploration of the psychology that one attaches to memory and place, putting particular emphasis on the role of women in these histories. Through humor and tragedy Harvey creates a new way of re-evaluating life, death, and the mythology of our own history. 

On the way to the Moon, 2019 // Crystal Z Campbell // On the Way to the Moon is a program developed for the True Turn Festival. Featuring short, experimental films from established and emerging filmmakers, we engage with spaces that cannot be touched, people that cannot be seen, images that cannot be remembered, ideas that cannot be trusted, and histories that cannot be performed. Together, we watch the facade of a building host beginnings and endings. Together, we watch the facade of a building become a screen, a portal, a possibility. Over us, the moon feigns to hover without ground, asking what remains of the screen that disappears after the screening. 

Participating Artists: Catalina Alvarez, Patty Chang, Chris Christion, M. Asli Dukan, Jasper Lee, Young Joo Lee, Virginia Lee Montgomery, Erica Lu Sheu, Dana Washington, Sasha Wortzel, Crystal Z Campbell and Nathan Young. 

Tulsa Sandlot Society // Rhett McNeil // The Tulsa Sandlot Society presents The First Annual Arts District Wiffle Ball Hang! Come try your hand with the ole plastic bat and ball on the lawn in front of the True Turn building and get to know your hometown Sandlot crew. 

We’ll have Coop beer, Sandlot Society merch, proper bases, and a wicked knuckle ball on hand. Our friends from Soundpony will be serving up booze and kisses at the Whiskey River Bar and Kissing Booth. 

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