#inform-video-player-1 .inform-embed { margin-top: 10px; margin-bottom: 20px; }

#inform-video-player-2 .inform-embed { margin-top: 10px; margin-bottom: 20px; }

Norman painter and sculptor Marta Whistler has made Oklahoma her home since the early 1960s. She grew up in Vancouver, British Columbia, where some of her family still reside. Whistler is a fearless artist whose stunning oil on canvas paintings incorporate symbolism, visceral imagery and bold color. Her work has been acquired by museums, corporations and private collectors internationally.

Whistler is well known in the arts scenes of New Orleans and Philadelphia in particular. Current president of the Urban League and then mayor of the Big Easy, Marc H. Morial presented Whistler with a 1998 gold sealed certificate of appreciation for her contributions to New Orleans. She’s made similar if not greater positive impact during her decades here in Norman. Whistler is hosting an open house Saturday, Dec. 2 from 1-5 p.m. at her 2031 E. Robinson St. studio and residence.

“It will be a complete open house, meaning people will be free to go into the studios,” Whistler said. “It will be a happening. Many students from way back and many people who taught at the University of Oklahoma are coming.”

Whistler is a prolific artist and many of her paintings are large. Seeing them up close in this setting is an intense sensory experience. They make a strong impression on viewers both seasoned and naïve.

“It will be fascinating, interesting and exciting but can be a little shocking,” Whistler said.

All art work will be for sale at half off the original price. This includes small pieces around $150 to enormous canvasses north into the thousands. Whistler is able to explain in detail the significance of all her pictures’ elements.

“I’m involved in symbolism,” she said. “So the paintings have a meaning. I don’t title my work and I want to prod your mind to see what you want to see. I love abstract but figurative art, too. Expression of feelings and emotions is at the heart of my work.”

Whistler described having artistic inspiration 24/ 7 and recognizes that’s not always a good thing.

“It can be a blessing and a curse at the same time,” she said. “I can be in bed and dream of the painting that comes into my mind. I’m working very hard while dreaming. Very often I remember them and make sketches, then work it out.”

Whistler’s art is inspired by nature and spirituality but primarily other human beings.

“I can go to the marketplace and because I’m people-oriented and notice those of interest, they don’t have to be beautiful, but something attracts me,” she said. “Then of course I work it out. In a restaurant I can see a group of people and though everyone is animated and talking there’s always one person that doesn’t fit in. That’s what I focus on, the isolation and loneliness which can be depicted in my work, although we can be surrounded by friends you can still be a very lonely person. There’s so much of a façade in us. Faces are very important to me because I can read them from being a philosopher of life.”

Visitors to Whistler’s studios will see that she’s dedicated her life to making art through both the hundreds of works on display along with the variety of techniques and styles she employed.

“I’ve always liked what I’m doing,” she said. “I love the art I create because it’s so much a part of me, just like breathing air. I need to have that in order to survive. You don’t get just a painting, you get part of me. I have to capture the soul of the one who’s going to buy my painting.”

Whistler’s work is shown in galleries more frequently on the east coast than this part of the country. She admits to caring little for making art that’s pleasing to the eye in order to attract casual collectors.

“I’m familiar with the galleries in Oklahoma City but most people are not daring enough for my paintings,” she said. “They will compliment that it is great work but they’re afraid. When I have an exhibit in Philadelphia I do very well. The last one I sold six works which is exceptional for any gallery. People have collected my work over the years and I calculate I’ve sold over two thousand pieces. That’s very rewarding.”

Whistler’s lifetime of exposure to various cultures have contributed to her artistic sensibilities. Canada, Eastern Europe, Native America, Central America and place of birth The Netherlands figure into her symbolic repertoire and palette of colors.

“I’m like a sponge,” she said. “I soak it up and work it out in my own interpretation. Primarily it’s color. We cannot live without color and must have it around us. I’m eccentric and know I’m different. The most touching thing are the children of people I’ve known here. They remember me and my paintings.”

Whistler would be comfortable living on the east coast but stays in Oklahoma primarily because of daughters who grew up and still reside here.

“It doesn’t matter where I am as long as I have a studio,” she said. “I’m not fighting for a reputation. I can work to my heart’s content. I’m not dependent on Oklahoma to make a living. Although I love it, of course, and I’ve made an impact on many people here who I’ve known for years. It’s a certain sentimental feeling for Oklahoma.”

Whistler looks forward to increasing that impact with her Dec. 2 studio happening.

#inform-video-player-3 .inform-embed { margin-top: 10px; margin-bottom: 20px; }

Brian Graham took this picture of two artists – Raoul Hague and Robert Frank – at Hague’s cabin on Old Maverick Road in Woodstock, New York, in 1988. Hague, an abstract sculptor working mainly in wood, was a friend and mentor to Frank, whose 1958 coast to coast journey, The Americans, had been a landmark in documentary photography. The picture is included in Graham’s new book, Goin’ Down the Road With Robert Frank, about the photographer. Frank died in 2019 aged 94.

Graham’s memoir is a personal homage to Frank’s influence and an intimate pictorial history of his later years. Graham met the older photographer in the late 1970s when he had spent a couple of years working on oil rigs and was looking for a change of life. Frank bought him a camera and some film and subsequently worked with him for a decade “in and out of the darkroom”.

Frank divided those years between a ramshackle home on Bleecker Street in New York and a house on Cape Breton Island, Nova Scotia, in Graham’s native Canada.

Both places look a little like lost worlds through Graham’s lens: dusty and beaten-up rooms and yards in which Frank’s wild-haired friends from different bohemias, Allen Ginsberg and Tom Waits and Jim Jarmusch, come and go. Hague’s cabin feels emblematic of that spirit, eccentric and homebuilt and full of life. In a diary note in the book, Graham recalls visits to that cabin, remembering how Hague described to him walking home 13 miles in the winter from the public libraries where he went to read. “Raoul kept scrapbooks and enjoyed showing me pictures of snow storms taken around the time he returned home from bypass surgery,” he wrote. “Back in New York, I imagine Hague forever in a snow globe.”

• Goin’ Down the Road With Robert Frank is published by Steidl