It’s not often that you will see a tall kid with a curly afro handing out hugs to strangers. Making every moment a special and memorable one is the intention for multidisciplinary artist Chikadibia Ebirim, Chi for short. He is 24 years young with a mile of emphatic joy to share with the people he comes in contact with.
In his brief and poignant exhibition statement, John Skinner, engaged a conversation about the complex nature of religious liberty, the context of language and meaning, and the normalization of one point of view over another. He wrote, “Christian words and images are so common in the United States that we don’t notice them. They appear in politics and government constantly. Christian imagery can be added to anything to make it seem more virtuous. I’ve replaced this imagery with something more remarkable, Satanism, to draw attention to how common it is.”
He’s a cool dude who just wants to see his community thrive through the inspiration of art and collaboration. The smart person learns from their mistakes and a wise one learns from others’ mistakes. Those are some words of wisdom Hugo chooses to live by. “Although a good friend told me once that we all have to make our own mistakes. Which is true, but I’d rather try to avoid some.”
Chapter 5: River is a meditation on the here and now. I see it as a delicate balancing act in which Nancy juxtaposes Latin America with the U.S., the degradation of the environment with art degraded to un-recognition, and the imprints of Empire with the persistence of pre-Columbian indigenous cultures across the continent.
The multimedia installation This is Fine at Project Project created by Alex Myers, Assistant Professor of Interaction Design at Creighton University, is about human consciousness in flux. Specifically, the fusion of technology and biology suggests that another neuroscientific revolution in human self-awareness and existence is happening
Kong & Olive: Let’s Do This!, a multimedia exhibition featuring video and assemblage sculpture, is audience participatory. Formally, it is a sincere and encouraging presentation that engages the craft and new media methods, demonstrating how common ‘craft store’ materials, and simple technology, can be transformed into dynamic visual expressions
Roper rests within the, more recent and still active, Neo-Realistic mode in which images are pulled from everyday life using photography to capture situations with strange and poetic minimal beauty, and the tone of wander and nomadic searching.
Although beautiful, skillfully composed, and aesthetically satisfying, the exhibition goes beyond the shallowness of profane ‘art object’ designed for collecting. “Indian Time” resonants a sacrosanct tonality.
Murff himself, as a political photographer, has waded into the world of the fine art look. In his most notable series of photographs thus far, Corrections, he depicted not only the relics of daily life of youth let out of jail or prison but youths who, still in the juvenile justice system, have to wear anklets tracking them. At first the beautiful surface and the serious demeanor made me wonder, more propaganda?
For the past few seasons, artists, aware that parlor game intellectualism of contemporary art is not working anymore, have increasingly enlisted animals to help them communicate in a more instinctual way. Charley Friedman’s squirrel project is one of the most engaging, ongoing examples of this genre.
As a native Omahan and lover of arts and culture, I’ve come to realize that both memorable and authentic experiences within the arts do not always lie in white-walled art institutions or alongside historical landmarks.
With a wink, a smile, a firm middle finger, and maybe an ‘I told you so’ shrug, Council Bluffs/ Omaha-based, internationally exhibiting Bart Vargas is asking America to reexamine its birth certificate.
And yet, in a strange way, Johnson’s work, while situated with some orientation to the space, is not “installed” to interact with the space... Having marked out his space, Johnson’s work seems to turn its back on objective space and inhabit a counter-space in which art has crawled into itself to muse on life by way of material means inside of itself.
What does it mean to make an image in a language that lacks a word for one? How then do we archive, remember and hold onto images? How are images manufactured and who is manufacturing them if their very definition eludes us?