This is the first time in about, oh, two decades – give or take a year – that a review of the Mayfest Invitational Gallery has not appeared in the Tulsa World.
One reason is all the changes going on here at the Tulsa World. Some things always fall by the wayside in the pursuit of progress, and reviews of art shows was one of those things, it was thought, took up news space that could be more profitably filled with stories on other subjects.
That is one reason why this blog was started in late April – as a way for stories that, for whatever reason, could not find a place within the pages of the Tulsa World have at least some kind of electronic life.
That's assuming people take the time to plough through all the various steps it takes to find said blog in the first place, and read what's there. Which doesn't seem to be happening.
But we digress.
We ended up making the very short trip to the Mayfest Invitational Gallery on Friday.
We saw that Eleanor Davy Carmack won the best in show, or "Grand Prize," for her multiple self-portrait, "Eleanor 2 – 12 – 22 – 72."
We saw pieces that we liked by Byron Shen, Sarah Diggdon, Don Emrick, Kevin Hardin, David Halpern, Bob Hawks, Grant McClintock.
We saw only one piece that struck us as just silly – a crudely done mish-mash of faux Japanese and even more faux American Indian imagery that made little sense.
But most of what was saw at the Mayfest Invitational Gallery this year was adequate. Some pieces were technically accomplished, some were less polished in their execution. But the majority just left us cold. We've seen very similar things from these artists in the past, so that this "showcase of local artists" in Tulsa's annual spring shindig is not a place to see what is new and exciting in the visual arts in Tulsa, but rather a chance to see the latest iteration of themes and subjects that have been done time and again.
At the risk of sounding like a broken record, or the old man I find more and more people describing me as, there was a time, a couple of decades ago, when the Mayfest Invitational Gallery was THE highlight of the year when it came to the visual arts. The shows in the Mayo Hotel, the exhibit that was part of Mayfest's failed migration to Brady District – you walked through those shows in a constant state of wonder at what local artists were capable of creating.
But over the years, and for all sorts of reasons – controversy over certain works of art, economic downturns, and Tulsa's unfortunate intractability when it comes to accepting the fact that the creation of art (visual, performing, literary, what have you) is a noble undertaking and worthy of support, encouragement and appreciation – the Mayfest Invitational Gallery has become a habit. A routine. One more thing to stroll through as one tries to digest all the fried foods and fizzy beverages that one has consumed during whatever time is spent strolling along Main Street downtown.
I say this not in any way to denigrate the people who work to put together the Invitational Gallery each year, nor am I chastizing the artists themselves for participating in the Invitational.
It's just that I've seen what can be done, and I see what's being done, and I know that Tulsa -- as a city, as an arts community -- can do better.
It pains me that we just don't seem to try, that in too many ways -- not just how this city looks upon the arts, but how Tulsa deals with most issues -- Tulsa is more than willing to settle for mediocrity.
Here's an idea for next year's Mayfest Invitational Gallery: Come up with a theme or two – something that has little or nothing to do with May or spring or downtown Tulsa. You could even have artists themselves submit thematic ideas, and do this before the summer is over.
Then, the invitations that go out would be for artists not simply to submit individual work, but agree to collaborate with other, randomly selected artists, to create a work that explores one of those ideas. Have these finished pieces be displayed in one of empty storefronts that dot downtown, where the art would not impinge on delicate sensibilities. Or, better yet, have some of these collaborative works be created during the run of the festival, so those interested could watch art being made.
A traditional gallery show in the Williams Towers lobby, as the Invitational is now, could still be offered, so local artists could have works available for sale.
But to do a show such I've described would mean a lot of work. And there would be a lot of people who wouldn't like it, because it is new and different, and it would require people taking artists and the work they create seriously.
Still, one can dream.
