Though not yet open to the public, Moss and I were able to preview the new Oklahoma Contemporary. I can’t wait for you to see it too.

More than a year ago, I began anticipating the opening of the new Oklahoma Contemporary, located just north of Automobile Alley on Broadway in Oklahoma City. The art center had existed for many years in buildings located on the grounds of the Oklahoma State Fair. Offering exhibitions, classes, and studio space, I’ve always been a fan of the Contemporary. So, when given the opportunity to grab tickets to attend their new Rand Elliott-designed home, I snatched two and enlisted Moss to accompany me.

As the date in March approached, I began to fear the event being cancelled due to the pandemic. The day before the event, they issued social distancing guidelines and a plan for a safe event. However, it was not to be. The event was postponed on the day of, and devastated though I was, one has to understand the situation. So we saved our tickets and looked forward to the event to come.

In mid-July, with the Contemporary still closed to the public, they began to allow small groups of supporters to visit by appointment. We snagged a spot on the calendar, and come July 26 we were on our way.

It’s impossible to express the feeling of standing at the foot of this building. The outside of the structure is covered in shiny metal which seems to fold back and forth across the outer walls in no apparent pattern, creating a gleaming but jagged exterior. The vision for the exterior was to reflect the Oklahoma sky, and there’s no doubt they’ve succeeded. We visited on a bright, clear mid-day; I can’t wait to experience the building during a sunset, under clouds, and more.

Entering the building, we were greeted by extremely friendly and helpful staff who got us checked in and gave directions and instructions. The ground floor of the Contemporary includes a welcoming lobby area, cafe (the ginger chai was awesome), gift shop, and studio classrooms for all ages. The studio spaces were large, well-lit and outfitted for the appropriate age group to which it was assigned. This will be an excellent resource for our community once the pandemic is controlled and we are able to use spaces like these again.

Heading upstairs to the second floor, we encountered the main Gallery, which currently holds the inaugural exhibition Bright Golden Haze (more on that below). The Learning Gallery leads to the museums office quarters, and houses an exhibit dedicated to the conception and construction of the new Contemporary building. It was fascinating to see the photos and sketchbooks of Rand Elliott, as well as material samples, process hints and a conceptual explanation of how the building handles the idea of space and light. This area is a must-see.

Turning left out of the Learning Gallery, we found an exit to the North Terrace, an expansive outdoor deck area overlooking the center’s green space below. I had just begun to take the space in and consider all of the awesome events that could take place in this space when the docent told us a wedding had taken place there the night before. It must have been a wonderful event!

Advancing to the third floor, we found the Mary LeFlore Clements Oklahoma Gallery which featured art exclusively by Oklahomans. Just past the Green Room and other theater-related storage spaces, lay the Te Ata Theater. This intimate space is just screaming for a little performance art, a band to play, or the showing of a film. Just beyond the theater lies a fantastic dance studio in the Founders Hall, which features unbelievable natural light through wall-to-wall north windows looking down over the terrace below.

Over all, our visit was even better than I’d imagined, save for not being able to visit The Studios, located at the back of the Contemporary’s property. The space is beyond beautiful and so well-done. I can’t wait to experience the classes, exhibits and performances that are sure to come.

The museum’s inaugural exhibition, Bright Golden Haze, takes light and space into account, not only considering the individual pieces but also their space as it relates to the building also. As we arrived on the second floor, we found ourselves inundated with expressions of light, sound, and technology which allowed us to consider many things. My personal favorite (pictured above) was Star Ceiling by Leo Villareal – a fully immersive experience that we nearly missed were it not for our (thankfully) very attentive docent. We were ushered out of the main area just off the entrance of the exhibit, and into a nearly-blacked-out fully immersive experience. The only light source in the small dark room was on the ceiling, provided by the light of thousands of tiny lights moving and interacting, like tiny pixels having come to life. There was seating that allowed you to lay back fully and take it all in. I highly encourage you to check this one out.

The exhibit includes works by Tavares Strachan, Camille Utterback, and so many more. I especially loved Vija Celmins’s Untitled (Large Night Sky); her attention to detail and the intricacy of her work really struck a chord. Overall, it’s a well-curated experience that you should visit as soon as the Contemporary is able to open its doors to the public.