David Brooks: Continuous Service Altered Daily
Jun
1
Aug 26

David Brooks: Continuous Service Altered Daily

  • Bemis Center for Contemporary Art
David Brooks: Continuous Service Altered Daily, 2016 Erosion and Flood zone (left) (installation view detail), 2016 Water Purification zone (right) (installation view detail), 2016 Courtesy of the artist Photo: Courtesy of Tom Powel Imaging

David Brooks: Continuous Service Altered Daily, 2016
Erosion and Flood zone (left) (installation view detail), 2016
Water Purification zone (right) (installation view detail), 2016
Courtesy of the artist
Photo: Courtesy of Tom Powel Imaging

Hours:
Wednesday–11AM–5PM
Thursday–11AM–9PM
Friday–11AM–5PM
Saturday–11AM–5PM    

Throughout his practice, David Brooks investigates the tenuous relationship between ecological life and technological industry. In Continuous Service Altered Daily, Brooks presents every single part of a used 1976 John Deere 3300 combine harvester. The components are laid out in varying degrees of disassembly. Distinctive elements like the corn head and cab remain unaltered in weathered John Deere green, while other parts are sandblasted, removing rust, paint, and all traces of wear and tear; still others, like gears and fittings, are brass-plated, polished and housed in museum vitrines—akin to the traditional trappings of highbrow art objects or precious natural history displays.

The stunning array of dismantled machine parts, arranged in diverse systems of presentation, are organized according to the ecosystem service that they poetically represent. By design Brooks’s imposed taxonomy makes it impossible to conceive of the combine in its entirety or to ascertain the machine’s complete functionality. Similarly, an ecosystem integrates innumerable processes, many of them intangible or undetectable, into one whole. A combine harvester is the ultimate example of agricultural technology, the otherworldly design of its bulky metal body conceals the integration of all stages of the harvesting process into one machine designed to reap grain, a resource that the efficiency of a combine allows us to take for granted as eternally and inexpensively available. Continuous Service Altered Daily asks us to reexamine our perception of products gleaned from the landscape, oftentimes those too easily interpreted as “services” for personal use: water, food, clean air, climate, energy—things we have come to expect to be delivered to us forever.

David Brooks: Continuous Service Altered Daily is commissioned by The Aldrich Contemporary Art Museum and curated by Amy Smith-Stewart. The exhibition was presented at The Aldrich May 2, 2016–February 5, 2017 and was generously supported by the Anna-Maria and Stephen Kellen Foundation and Brad and Sunny Goldberg. 

David Brooks (b. 1975, Brazil, IN) received his BFA from The Cooper Union in 2000 and his MFA from Columbia University in 2009. Brooks has exhibited at the Dallas Contemporary; Frances Young Tang Teaching Museum and Art Gallery, Saratoga Springs, NY; Nouveau Musée National de Monaco; Sculpture Center, New York; Miami Art Museum; Changwon Sculpture Biennale, South Korea; Galerie für Landschaftskunst, Germany; the Goethe-Institut, New York; and MoMA/PS1, New York. Other major commissions include the Art Production Fund, New York; Socrates Sculpture Park, New York; Storm King Art Center, New Windsor, NY; the Cass Sculpture Foundation, United Kingdom; the deCordova Museum, Lincoln, MA; and the Visual Arts Center, Austin. In 2010 he received a grant from the Foundation for Contemporary Arts, in 2012 and 2016 a research grant to the Ecuadorian and Colombian Amazon from the Coypu Foundation, and in 2016, a Smithsonian Artist Research Fellowship (SARF). He lives and works in New York City and is currently on the faculty of the Maryland Institute College of Art.

EGGMAN2500: Mass Production, Manual Labour, Content Creation, Repetition, Madness & the Zen of Screenprinting
Jun
2
Jul 28

EGGMAN2500: Mass Production, Manual Labour, Content Creation, Repetition, Madness & the Zen of Screenprinting

  • Petshop

Opening Reception: Friday, June 2nd, 7-10 PM

"An artist is someone who produces things that people don't need to have, but that he- for some reason, thinks it would be a good idea to give them." -Andy Warhol

From Eggman:
To commemorate 25 years working in the screenprinting industry, I have created a new "limited edition" print. "EGGMAN2500" is a 2 color screenprint on recycled cardboard. Each print has been individually cut, hand pulled, and hand numbered to 2500. The entire run of prints will be available for free to all, one per person.

I wanted to make a piece that rides the line between fine art and the disposable by replacing traditional acid free, archival paper with used cereal and beer boxes. I wanted to challenge the concept of a limited edition by creating such a large run of prints using manual, DIY means. The repetition of images and the physical process of printing becomes a zen like experience for me.

Also on display will be supplemental drawings and prints, as well as misprints and other materials used in the process.

About the artist:
Eggman (aka Mike Scheef), artist, printer, drawer of 1000 wrestlers, cofounder of Caesium Gallery, Omaha

Petshop Gallery hours happen once a week and vary - or you can make an appointment - petshopgallery@gmail.com

Janet Biggs
Jun
3
Sep 10

Janet Biggs

  • Joslyn Art Museum
Janet Biggs (American, born 1959), A Step on the Sun, 2012, single-channel HD video, 16:9 format, 9:05 minutes, edition 2 of 5 + 2 AP. Courtesy the artist and Cristin Tierney Gallery, New York.

Janet Biggs (American, born 1959), A Step on the Sun, 2012, single-channel HD video, 16:9 format, 9:05 minutes, edition 2 of 5 + 2 AP. Courtesy the artist and Cristin Tierney Gallery, New York.

Admission: Free

Museum Hours: 
Tuesday, Wednesday, Friday, Saturday, 10 am - 4 pm
Thursday, 10 am - 8 pm
Sunday, 10 am - 4 pm     
Closed Mondays and major holidays*
Hours may change for special exhibitions.

Janet Biggs creates videos, photographs, and performances that study the capacity of the human body to withstand intense physical demands. Her recent work has taken her to some of the most extreme environments in the world, including the Arctic Circle, a desert in China, and northern Ethiopia. A Riley CAP Gallery exhibition.

Peter Fankhauser & Jaimie Warren: Together Forever
Jun
9
Aug 6

Peter Fankhauser & Jaimie Warren: Together Forever

  • Darger HQ

Opening reception: Friday, June 9th, 6 - 9 PM, with a performative artist talk at 8 PM.

The notion of immortality authenticates itself in repetition.  We survive after death only inasmuch as our names are repeated.  The memory of our desperate foibles, stunning defeats, or ill-earned victories must first become the stuff of casual conversation: we the long since dead, becoming legends.  Like Marilyn Manson said, "...the key to longevity--and immortality, in a sense--has to do with transformation."  Stories travel and narratives transition with every shift in representational format.  Michael Jackson will forever be the world's biggest star, worst sex offender, or most innocent son, depending on who's doing the telling.  Together Forever pays homage to the act of remembering in its beautifully misshapen forms and perfect fallacy.

In Jaimie Warren's highly collaborative, community-based work, she memorializes her fallen heroes and totems of imagined affinity by conscripting remade images of her childhood idols into the canon of art history. Falling somewhere along the road between Pee-Wee's Playhouse and Neverland Ranch, ad hoc set design and vocal numbers become potent metaphors for immortality in Warren's videos.  Expendable materials become irreplaceable narrative tools and expendable lives are enshrined in 1080p hi-def digital showboating.  Freddy Mercury, George Michael, and Michael Jackson, in ratted out wigs and well worn body suits, remind us of forgetting--forgetting the wild, enduring infatuations of youth.  Warren draws her friends in close to sing and sway beside her in visually overloaded tributes to collective remembering.

Peter Fankhauser's “Justice of Decline” is an alternative reading of Oswald Spengler's The Decline of the West or The Downfall of the Occident, as told from the perspective of Anna Nicole Smith through photo, video, and text based works.  Smith's genius for tragic comedy becomes a vehicle for the repudiation of tradition, or the ultimate negative freedom--no democracy; no ownership.  The memory of her life plays out as unlimited optimism, undermining and destroying itself through repeated slurred affirmations of self-love, always colored by doubt. Her decline immortalizes our own with each retelling and every wayward step.

Jaimie Warren (b. 1980, Waukesha, WI) "comes across as a force of nature, or at least pop culture" according to Roberta Smith of the New York Times, " whose work brims with messy promise. [Her photographs] indicate a talent for color and tactility (to say the least) as well as for rough-edged transformation that combines aspects of the work of Cindy Sherman, Sandy Skoglund and Alex Bag while channeling the spirits of Leigh Bowery, Divine and George Grosz.”  She is a 2017 Brooklyn Arts Council SU-CASA Artist-in Residence, a 2016 Maker’s Muse Awardee, a 2015 fellow in Interdisciplinary Arts from the New York Foundation for the Arts and a 2015 Abrons AIRspace resident.  Warren is also featured artist in ART21's documentary series "New York Close Up", and she is the recipient of a United States Presidential Scholars Program Teacher Recognition Award.  She lives and works in New York City.

Peter Fankhauser (b. 1980, Lincoln, NE) is a committed member of the MTV generation, brought up on television: music on television, television on film, film on the internet. Narrative’s mutation across different media platforms has become a recurring theme in his work and a primary preoccupation. He received an MFA from CUNY-City College in New York City and has shown at independent and alternative spaces nationally and abroad including Judson Memorial Church (New York City), Death By Audio (Brooklyn), Silent Barn (Brooklyn), AC Institute (New York City), and the Meltdown Festival (London). He currently lives and works in Omaha, NE. 

KINETIC at KANEKO
Jun
16
Oct 14

KINETIC at KANEKO

  • KANEKO

Admission: Free

Gallery Hours:
Tuesday – Friday, 11 a.m. – 7 p.m. and Saturday, 11 a.m. – 4 p.m.

KINETIC at KANEKO explores the art and science of movement and the perception of motion. This collaborative exhibition season will feature stunning visual art, interactive sculpture, and experiential learning opportunities developed to strengthen the understanding of kinetics in everyday life.

Artists:
Blumen Lumen
John Buck
Cassia Kite
Michael McGinnis
Vijay Olander
Ralfonso
George Rickey
Bruce Shapiro
Tom Sitzman
Larry Sosso
Mark di Suvero
tbd. Dance Collective
Omaha Under the Radar
Dr. Shane Farritor
Dr. Nick Stergiou
Dr. Graham Ulicy

Collaborators:
Big Brothers Big Sisters of the Midlands
Boys & Girls Club of the Midlands
Brownville Flatwater Folk Art Museum
Creighton University
HDR Inc.
RDG Planning & Design
Sheldon Museum of Art
Studio Fackler
University of Nebraska at Omaha Department of Biomechanics
Virtual Incision
Kinetic Art Organization
Gallery 72
Connect Gallery
Sisyphus Industries

Where We Land: Zora Murff, Jordan Weber, and Lachell Workman
Jun
16
Aug 12

Where We Land: Zora Murff, Jordan Weber, and Lachell Workman

  • The Union for Contemporary Art
Zora Murff, Youthful Offenders 6698 and 3581, 2013

Zora Murff, Youthful Offenders 6698 and 3581, 2013

Opening Reception: Friday, June 16th, 6-9 PM

Where We Land examines the influence of place and environment on cultural perceptions and presumed narratives surrounding race, violence, and complicity in an age of viral sharing.

Omaha, NE – Where We Land, a three-person exhibition opening in the Wanda D. Ewing Gallery at The Union for Contemporary Art, 2423 North 24th Street, features photographer Zora Murff, Jordan Weber, and Lachell Workman. The exhibition runs June 16 until August 12, 2017. Admission is free and The Wanda D. Ewing Gallery is open to the public Tuesday through Saturday from 11 a.m. to 6 p.m.

 Where We Land explores the landscape of disproportionate violence against people of color. Place and environment influence cultural perceptions surrounding race, violence, complicity, and imminent danger, and in turn, those perceptions affect the ongoing relationship of communities to the spaces they occupy. Despite the increased visibility and transparency of incidents of brutality through viral sharing on social media, public reactions to these scenes are deeply polarized and influenced by geographical divides that our digital access has not successfully bridged. Photographer Zora Murff (Lincoln, NE), and multidisciplinary artists Jordan Weber (Des Moines, IA) and Lachell Workman (Bridgeport, CT) use the physical materials and visual details of urban and natural environments as a vehicle to explore presumed narratives and the gaps between contradictory interpretations of shared views of violence.

Derek Courtney
Jul
7
Aug 25

Derek Courtney

  • Michael Phipps Gallery, W. Dale Clark Library
Derek Courtney, Idiot King of Overtime

Derek Courtney, Idiot King of Overtime

Opening Reception: Friday, July 7th, 4 - 6 PM

Gold watch/pine box. This was the phrase that led to the current focus of Derek Courtney's work. Previously his work dealt with the themes of land use, consumption and depletion, as well as labor and production. Recently the focus of his art has shifted to address the the human costs of labor.

In his recent work, Courtney attempts to draw parallels between the modern labor movement in the US and the labor movement as it existed in early 20th century Appalachia. His goal is to highlight the detrimental effect supply side and neoliberal economic policy have had on the working population in general. Financially, today's hourly wage earner is every bit the debt slave that a miner in West Virginia was in the 1930s. These days, the company store has been replace by the banking industry.

In addition to the financial burden today's worker is also battling the physical and emotional toll involved in the modern workplace. Increased productivity leads to greater frequency of injury and illness. Prolonged exposure to less than ideal environments can produce chronic disease. Longer hours can lead to stress related illness and depression. All of this, of course, leads one to discover ways of coping. This can lead to addiction to any number of substances.

So at the end of a 30+year career, after paying off student loans, house loans, car loans and various home equity loans, what are you left with? After fighting through injury, sickness and the deterioration of age what are you left with? After overcoming all the exhaustion, stress and depression what are you left with?

Gold watch/pine box.


Jeff King: "you're beautiful, and nobody cares"
May
5
Jul 1

Jeff King: "you're beautiful, and nobody cares"

  • Petshop

Opening Reception: Friday, May 5, 7-10 PM
Gallery Hours: Fridays 6-8 PM or by appointment.

From Jeff:
So I'm from Omaha. I've been working professionally as an artist for approximately 15 years. I kinda stepped away from art for a while. I'm not sure what made me want to do this show, other than some kind of search for relevance in my life. I'm pretty sure that you can stop making art, but it's very difficult to stop being an artist. I'm a busy guy, but I'm enjoying making work when I can. 

This exhibition has been weird for me. The title, " you're beautiful and nobody cares," is about a general feeling I have about the world right now. Weird because I never thought I would think of the world this way. It means to me that I have noticed a significant difference between the Obama era and the beginning of the Trump " presidency." It's got me asking " is this really where we are at as a country?" I really feel like individuals are living lost from their individuality, and simply lumped together as some kind of generational name as though this is all that matters as far as an argument or opinion is concerned. I don't want to deny you or myself the opportunity to be a solvent human being, why does this country? As war is pervasive, as human rights diminish, as money becomes more important than life or respect for life, we as a whole are fucking lost. So much rides on good leadership, but obviously a lot of people disagree about what that means. We are a nation divided. " you're beautiful and nobody cares," as far as the work is concerned is not overtly political, but the meaning is. 

Anyway, I would like to think that the dumbing down of America is not really going to get worse, but it probably will. 

**Special performance by Kyle "GB" Oppold of Arliss Nancy/Drag the River ! 9pm
http://www.arlissnancy.com/
https://www.youtube.com/watch?v=Yq06G2vVLek
**

Exhibition runs May 5th - June 30th
 

Cassils: Monument Push
Apr
29
4:00 pm16:00

Cassils: Monument Push

  • Bemis Center for Contemporary Art

Free and open to the public. Free parking available. 

Cassils, along with community members, advocates, and allies, will physically push a 1,300 pound bronze monument, Resilience Of The 20%, to sites of resistance and places where violence against marginalized peoples have occurred in downtown Omaha. With the world premiere of Monument Push in Omaha, Cassils calls attention to overlooked trauma and the perseverance of the human spirit—raising questions about memory, witnessing, and forgotten histories.

The performance will begin and end at Bemis Center. 

More information: bemiscenter.org/monumentpush

The public is also invited to an artist talk by Cassils on Thursday, April 27, 6–7 PM, at UNO Criss Library detailing their practice and current exhibition, Phantom Revenant, at Bemis Center through April 29.

Art + Science
Apr
29
1:00 pm13:00

Art + Science

  • Bemis Center for Contemporary Art

Free and open to the public. Free parking available.

1–2 PM–Michael Hoff, Ph.D.–Greek Archeology and the True Story of the Parthenon Marbles
2–3 PM–Sofia Jawed-Wessel, Ph.D.–Women's Reproduction
3–4 PM–Dr. Karina Blair, Ph.D.–The Science of Trauma

The Bemis Center is excited to participate in Nebraska Science Festival 2017! The Nebraska Science Festival aims to stimulate curiosity and excite the minds of children and adults by engaging them in the amazing world of science. Three guest speakers will present on topics examined in Bemis Center's current exhibitions. Michael Hoff, Ph.D., Hixon-Lied Professor of Art History at the University of Nebraska, will present on Greek archaeology and the true story of the Parthenon Marbles; Sofia Jawed-Wessel, Ph.D., Assistant Professor, UNO School of Health, Physical Education, and Recreation, will speak about Women's Reproduction; and Karina Blair, Ph.D., Neuroscientist at Boys Town National Research Hospital, will talk about the science of trauma.

Spring Open House: Hot Shops Art Center
Apr
29
Apr 30

Spring Open House: Hot Shops Art Center

  • Hot Shops Art Center

Come check out the galleries with artists who will be on hand for the different shows on display. Hot Shops Art Center will also have live demonstrations and tours throughout. All ages are welcome. 

Bear Hug
Apr
28
7:00 pm19:00

Bear Hug

  • 500 South 18th St &

One night only
Friday, April 28, 7-10:30 PM
Free


Organized by Josh Powell and Joel Damon, Bear Hug is a one night event that transforms the soon to be renovated building on 18th and St. Mary's Ave. in Omaha, NE into exhibition space.  Participating artists include Jamie Danielle Hardy, Rob Gilmer, Ella P Weber, Nolan Tredway, Launa Bacon, Thomas Prinz, Sarah Rowe, Dan Crane & Will Anderson, Josh Powell, Alex Jochim, Omaha Under The Radar, Ian Treadway, Christopher Prinz, Peter Goche & Samantha Krukowski, Joel Damon, Jake Gillespie, Tim, Peter Fankhauser, Michael Villarreal, Laura Simpson, and Jim Schroeder

Angie Seykora: Part to Part
Apr
14
May 27

Angie Seykora: Part to Part

  • The Union for Contemporary Art

Opening Reception: April 14, 6-9 p.m.

Omaha-based artist Angie Seykora exhibits "Part to Part" - she received an MFA in Sculpture from Edinboro University of Pennsylvania.  She is a 2016 recipient of the Nebraska Arts Council’s Distinguished Individual Artist Fellowship award. She earned an Outstanding Student Achievement in Contemporary Sculpture award from the International Sculpture Center, from which she was selected for the fully funded Art-St-Urban Sculpture Residency in St. Urban, Switzerland. Seykora is currently an instructor of sculpture at Creighton University and participates as an artist mentor for Omaha youth through the Joslyn Art Museum’s Kent Bellows Mentoring Program.  She exhibits her work nationally and internationally.

As rapidly as industry produces new technology, artists are quick to capitalize on its creative potential. Since the 1950s the relationship between art and industry has gained momentum, particularly surrounding plastics. Modern Art movements such as Minimalism and Process Art, and historical collaborations between artists and scientists including Experiments in Art and Technology (1967-2001), generated a discourse that embraced, investigated and critiqued the cultural impact of our new synthetic frontier.  Plastics can be molded and shaped with seemingly limitless potential; because they are manufactured in vast quantities, at a low cost, for myriad uses, plastics have affected -- or infected -- every aspect of daily life.

More than half a century has passed since synthetic materials inundated our day-to-day. The future lauded by proponents of industrial investment in synthetic technologies is now. As plastic materials create the opportunity and flexibility to manufacture anything, they have also contributed to a breakdown of material differentiation. Everything becomes homogenous; we stop noticing the extent to which we manufacture and use plastics simply because we can. This legacy of early collaboration between the arts and industry continues to provoke material dialog in Angie Seykora's Part to Part exhibition.

Seykora is part of an evolving discourse of recognition and mitigation, questioning how we make sense of our plastic abundance.  The Omaha-based artist builds her ongoing language through craft, labor, material, and engages the audience by drawing on collective sense memories. Through the process of disassembling and reassembling -- by hand and not by machine -- Seykora creates the opportunity for discovery and reflection that industry cannot afford. Part to Part erases boundaries between "art," "sculpture," and "craft," while finding variance between the uses and physical properties of common plastics.  The artist's process brings clarity to the impact of industry on our collective culture; what may have once seemed like noise in the background comes into full view. By transforming ubiquitous products, Seykora challenges perception, the sustainability of cultural production, and how we place value on the things we keep or choose to part with.  

Sarah Rowe & Angela Simione
Apr
14
Jun 4

Sarah Rowe & Angela Simione

  • Darger HQ

Opening Reception: April 14, 6 - 9 pm
Artist Talk: April 14, 6:30 pm

Sarah Rowe (Omaha, NE) & Angela Simione (New York, NY)

Derek Courtney: Sameness Without End
Apr
7
May 26

Derek Courtney: Sameness Without End

  • Petshop

April 7th - May 26th
Opening Reception: April 7th, 7-10pm

*NEW Gallery Hours: Fridays 6-8pm or by appointment (petshopgallery@gmail.com)
Petshop exhibitions are volunteer curated by Jamie Danielle Hardy & Alex Jochim.

Derek Courtney spent the first 18 years of his life in Putnam County, West Virginia before moving to Omaha, Nebraska. He studied at the University of Nebraska at Omaha, completing his BFA thesis in 1996. He was deeply inspired by art teacher Caryl Toth, who taught him to make art from any and every available resource. To this day, Derek prefers to paint on paper.

Derek’s art starts with recognizable forms that are gradually painted away, emerging as abstract, pulsing amalgamations of colors, shapes, and textures. As a means of avoiding the thematic pigeon-hole, he obscures figurative clarity with abstract layers. Only mere fragments of the original content are allowed to remain.

Currently Derek spends his days earning a living as a cog in the wheel of a very large machine. Any free time he can wrangle is devoted to his family and making art at the Caesium Gallery, a gallery space that Derek co-manages with Mike Scheef in South Omaha.
www.derekcourtney.com

Voice Squared: Shape Note Singing
Apr
6
8:00 pm20:00

Voice Squared: Shape Note Singing

  • Project Project

April 6th, 8 - 11pm


Join us Thursday, April 6 for a shape note singing event. Shape note singing is a true American musical tradition originating in New England. With it's simultaneously beautiful and haunting sound, shape note singing is seeing a resurgence in modern-day culture. All who attend are invited to join in the singing. This event is free and open to the public.
 

Unapologetically Woman
Mar
14
Apr 4

Unapologetically Woman

  • Love's Jazz and Art Center
Photo by Dana Damewood

Photo by Dana Damewood

Featuring some of the works of the late artist Wanda Ewing and local artist Patty Talbert. Showcasing women’s essence as powerful, bold, unapologetic and a gift to all the world.

Read more about this exhibition on our blog!

Mina Bárcenas: Apostillas
Feb
16
Apr 22

Mina Bárcenas: Apostillas

  • El Museo Latino

Feb 16 - Apr 22, 2017

El Museo Latino Viewing Hours:
Monday, Wednesday, Friday - 10 a.m. - 5 p.m.
Tuesday, Thursday - 1 p.m. - 5 p.m.
Saturdays, 10 a.m. - 2 p.m.

The exhibit Apostillas by Mina Bárcenas includes a selection of contemporary photographs and the writings of 20 authors, each inspired by one of the photographs.  Mina Bárcenas was born in Cuba and now lives and works in Mérida, Mexico.

 

Virginia Beahan
Feb
11
May 7

Virginia Beahan

  • Joslyn Art Museum
Virginia Beahan, Christina Brushing Gram’s Hair, 2005, chromogenic development print, 18 ½ x 23 ½ inches. Courtesy of the artist.

Virginia Beahan, Christina Brushing Gram’s Hair, 2005, chromogenic development print, 18 ½ x 23 ½ inches. Courtesy of the artist.

Feb 2 - May 7, 2017

Joslyn Art Museum
Tuesday, Wednesday, Friday, Saturday, 10 am - 4 pm
Thursday, 10 am - 8 pm
Sunday, 10 am - 4 pm     
Closed Mondays and major holidays*

Virginia Beahan’s photographs tell a story that is at once demanding, joyous, surprising, and painful. In the fall of 2002, Beahan and her husband helped her 88-year-old mother sell her house in Yardley, Pennsylvania, and moved her to their home in rural New Hampshire. In failing health, her mother’s doctors believed she would die within the coming months. She soon recovered, however, and for the first time in many decades, Beahan and her mother began to spend their days together, learning to accommodate each other’s needs and lives. Suffering from the early stages of dementia, losing her memory and her ability to process information, her mother could never be left alone. Accustomed to a busy schedule of teaching, traveling, and making photographs, Beahan felt trapped by these unexpected circumstances. Turning to her camera to bring structure and familiarity to a new routine, Beahan created a remarkable document of her family as it navigated what might otherwise be heartbreaking circumstances.

"In a reversal of roles, I took care of her, and we were constant companions. She went with me everywhere: lectures and concerts at Dartmouth College where I teach, dinners with neighbors, swimming at the local pond. As her health failed she spent more time sleeping, but she still enjoyed forays into the outdoors, basking in the warm sunshine and the fragrance of the garden. Five years later, my mother died at home when she was 93 years old. Although this was an emotional and difficult time, I have photographs that celebrate the beauty and fragility of these intimate moments with the people we love and in the places we call home."

Beginning with portraits of her mother and daughter, Beahan soon expanded her subjects to include her husband, brother, cousins, and family friends — the people who surrounded her mother and her family throughout this time. Beahan’s photographs face a difficult situation with directness and compassion, without flinching from her mother’s condition or succumbing to sentimentality. They reveal a painful transition that every family faces, yet one that is rarely shared with the outside world. Beahan captured the end of her mother’s life with openness and generosity, and a belief in the fundamental strength that binds together those we love and hold dear.

Luke Severson - Clearinghouse Filler 17
Feb
10
Mar 3

Luke Severson - Clearinghouse Filler 17

  • Project Project

Join us for the opening reception of "Clearinghouse Filler 17" featuring all new work by ceramicist Luke Severson.

Sometimes tacky vases filled with knives and swords are just tacky vases filled with knives and swords. 

Project Project is curated by Joel Damon and Josh Powell.

Dissipation: An Act of Balance
Feb
3
Mar 1

Dissipation: An Act of Balance

  • Petshop Gallery

|Petshop invites you to the opening reception for "Dissipation: An Act of Balance" // Installation work from Ian Tredway and Chase McClaren on Friday, February 3rd, 2016, 7-10pm, during Benson First Friday.

The duo will explore contrast while finding balance, especially in a world that is increasingly complex and daring. Through materials they will attempt to construct situations that tackle ideas such as complacency versus growth, synthetic versus organic materials, and the idealizations human need to try to control the uncontrollable.

About the Artists:
Ian Tredway:
Ian Tredway is a Nebraskan artist living and working in Lincoln. Ian received a Bachelors of Fine Art from the University of Nebraska-Lincoln,with an additional residency at Santa Reparata School of International Art in Florence, Italy. Tredway uses materials such as cloth and plastic weed barriers, stains mixed with stain-remover, tapes, and adhesives to entertain multiple contradicting ideas at once in an attempt to find structure. His work has won him the Jean R Faulkner Memorial Award and has recently shown work Bemis Center for Contemporary Arts, as well as his first solo debut at Project Project.
iantredway@gmail.com // www.iantredway.com // 402.432.1400

Chase McClaren: 
McClaren earned his Bachelor's in Fine Art from the University of Nebraska – Lincoln with an emphasis in sculpture and installations, in 2015. Soon after, Chase had an artist residency at the Santa Reparata School of International Art in Florence, Italy. Using natural elements and man made materials, McClaren creates compositions that pair human design with subtle organic variations. Highlighting the natural processes of decay, McClaren’s artworks reference the tension between the human need to idealize the environment and the inevitable, persistent forces of nature. His works have achieved multiple awards including the Perry Family Award and the Jean R Faulkner Memorial Award. Recently, Chase has shown works in the Still Point Art Quarterly, and Upstream Gallery.
http://chasemcclaren.com/

Chimeras
Feb
2
Apr 29

Chimeras

  • Bemis Center for Contemporary Art
Rashayla Marie Brown You Can't See Me, Fool as part of the installation Lost and Found But Still Can't Be Seen (An Altar for My Aura), 2017 Mixed Media Dimensions variable Courtesy the artist

Rashayla Marie Brown
You Can't See Me, Fool as part of the installation Lost and Found But Still Can't Be Seen (An Altar for My Aura), 2017
Mixed Media
Dimensions variable
Courtesy the artist

February 2–April 29, 2017

In ancient Greek mythology, Chimera was a hybrid creature merging goat, lion, and snake body parts into a new whole. Today, Chimera is a term that describes a single organism with multiple, genetically-distinct cell lines. From bacteria and viruses in vaccines, horse urine in some birth control and hormone therapies, and the possibilities of pig and primate organ transplants, human and animal bodies are increasingly integrated in medical, pharmaceutical, and biotechnological realms. Chimeras is a group exhibition that explores the boundaries between these socially-constructed categories.

But what qualities define who is human and what is animal? While our minds, consciousness, and a capacity for complex thought makes humans human, our most fundamental biological functions, including the necessity of eating and defecating and the inevitability of dying, keeps us animal. Composed primarily of women artists, reproduction and the biological functions of the female body are important themes in Chimeras. Brooklyn-based Leah DeVun's photographs feature breastfeeding women wearing a variety of milk-pumping apparatus that make them appear animal-like while acknowledging how technological interventions in “natural” bodily functions are often necessary. Miriam Simun also enlisted the collaboration of breastfeeding mothers. Simun used donated breast milk to make cheese and offered samples at an art gallery she transformed into The Lady Cheese Shop. A video and diagram detail the production cycle for making Human Cheese while raising questions about food production, reproductive labor, and the commodification of human and animal bodies.

Chicago’s Rashayla Marie Brown addresses reproduction from a different angle: mechanical and digital. Her photograph You Can't See Me Fool is a self-portrait of the artist as her grandmother dressed in multiple layers of leopard print. The image quickly “went viral” and is frequently reproduced in print and online media. For Chimeras, Brown compiles the archive of her photograph’s many lives, in a sense, recapturing this fugitive and wild image. Julia Oldham of Portland, Oregon performs the ritual-like behavior spiders and insects use to communicate. The bugs provide the soundtrack for Oldham’s intricate dance-like movements, which call for a reconsideration of the choreography humans unknowingly repeat everyday to communicate with each other.

Lucie Strecker and Klaus Spiess, who collaborate in Vienna, approach questions of life and death through the work of Joseph Beuys. The late German artist often used the hare as a spiritual medium that transgresses planes of existence, notions rooted in European folktales of the Hare’s Woman. Stecker and Spiess vivify the archived blood of one of Beuys’s hares and keep the cells alive via a cooling system that sets a different biological time into motion. The actions occurring within the petri dish function as a performance with the growth rate of the cells timed to the auction values of Beuys's artwork and the trading value of livestock on the New York stock exchange. Brooklyn-based Kate Clark also enlivens the dead when she transposes human facial features onto taxidermied animal bodies. Each pair of animals enact a different relational dynamic. Clark’s sculptures embody the ways in which human characteristics are projected onto animals, but, like all of the work in the exhibition, equally suggests how humans are more animal-like than we accept.

Chimeras is curated by Risa Puleo, Bemis Center Curator-in-Residence.

The Curator-in-Residence program's inaugural year is made possible by Carol Gendler and the Mammel Foundation. Chimeras is supported, in part, by Joan Gibson and Don Wurster. Additional support is provided by Melanie and Fred Clark and Catherine and Terry Ferguson. 

Cassils: Phantom Revenant
Feb
2
Apr 29

Cassils: Phantom Revenant

  • Bemis Center for Contemporary Art
ecoming An Image, Performance still from performance at ONE National Gay and Lesbian Archives in Los Angeles. Photo courtesy the artist.

ecoming An Image, Performance still from performance at ONE National Gay and Lesbian Archives in Los Angeles. Photo courtesy the artist.

February 2–April 29, 2017

Illustrating the limits of endurance and empathy, interdisciplinary artist Cassils produces potent evidence of unseen violence while questioning the act of witnessing in contemporary media culture. The exhibition and its title, Phantom Revenant, speaks to the double invisibility of LGBTQI+ people across the world and the ways this violence is archived in public consciousness. Cassils exposes this timely concern through three works that aggressively bring cyclical forms of oppression, disregarded histories, and haunting realities to the forefront.

Challenging the audience's ability to see while bringing an invisible history into focus, the performance Becoming An Image (2013–present) is a body-intensive attack on a 2,000 pound clay block. Performed in total darkness, Cassils is visible only through the flash of a camera that momentarily illuminates the scene and sears the assault into the viewer’s retinas as an afterimage. The corresponding sounds of physical exertion and exhaustion break through the darkness as abrupt reminders of Cassils presence. The camera’s flash not only illuminates Cassils’s confrontation, but the audience surrounding their assault as well. Cassils’s performance implicates each viewer as participant and turns the act of viewing into an ethical dilemma. This visceral exchange between the artist, audience, and clay monolith archives—through the act of collective witnessing and accumulated strikes upon the clay—an insistence of being seen.

Each blow upon the clay mass makes visible the physical and emotional violence directed toward LGTBQI+ people. After a previous iteration of the performance Becoming An Image, Cassils cast the clay block, first in concrete, to ultimately make a bronze cast. Cassils deploys the history and function of monuments, which traditionally memorialize significant people and acts, to instead memorialize the undocumented, overlooked, and often purposefully ignored histories. When cast in bronze, the clay block became The Resilience of the 20% (2016), a title that points to an appalling statistic from 2012 when murders of trans individuals increased by 20%. In late April, the Bemis Center will premiere a new processional performance where Cassils will push the 1,200 pound bronze from the Bemis Center to locations in downtown Omaha where acts of violence against LGTBQI+ people have occurred.

The six-channel video installation Powers that Be further extends the theme of witness-as-participant in violence. In 2015, Cassils staged a brutal two-person fight with an invisible opponent in a parking garage, lit by car headlights. Viewers of this performance were encouraged to document the event with their cells phones; their video footage provided the source material for the resulting six-channel video installation Powers That Be, (2015–2017). As an installation, Powers That Be reverses the terms of the original performance as well as Becoming An Image by putting the audience at the center of the attack. The amount and intensity of information offered during Powers That Be is overwhelming, calling attention to the trend to document violence while failing to intervene.

Accompanying Cassils’s exhibition, a display of objects from the Queer Omaha Archives, housed at the University of Nebraska at Omaha Libraries Archives & Special Collections, connects the artwork to a local context and attempts to bring visibility to lost, disregarded, or forgotten histories of LGTBQI+ people in Nebraska.

A dark presence runs throughout Phantom Revenant, bringing to light the restrictive forces of power present within and beyond the lived realities of flyover country; ultimately speaking to the the radical unrepresentability of certain forms of trauma and violence.

Cassils: Phantom Revenant is curated by Alex Priest, Bemis Center Exhibitions Manager.

Cassils is from Montreal, Canada and is now based in Los Angeles. Their work uses the body in a sculptural fashion, integrating feminism, body art, and gay male aesthetics. Recent solo exhibitions include MU Eindhoven (Netherlands), Trinty Square Video (Toronto), and Ronald Feldman Fine Arts (New York). Cassils’s work has also been featured at Institute for Contemporary Art and The National Theatre (London), MUCA Roma, (Mexico City), Yerba Buena Center for the Arts (San Francisco), Los Angeles Contemporary Exhibitions (Los Angeles), Utah Museum of Contemporary Art (Salt Lake City), ANTI Contemporary Performance Festival (Kuopio, Finland), Museo da Imagem e do Som (São Paulo, Brazil), Museo de Arte y Diseño Contemporáneo (San José, Costa Rica), and Deutsches Historishes Museum (Berlin, Germany). Cassils is the recipient of a 2015 Creative Capital Award. They have also received the inaugural ANTI Festival International Prize for Live Art, Rema Hort Mann Visual Arts Fellowship, California Community Foundation Grant, MOTHA (Museum of Transgender Hirstory) award, and Visual Artist Fellowship from the Canada Council of the Arts. Their work has been featured in New York Times, Wired, The Guardian, TDR, Performance Research, Art Journal, and Vogue Brazil and was the subject of the monograph Cassils published by MU Eindhoven in 2015. Cassils received a BFA from Nova Scotia College of Art and Design (NSCAD) in Halifax, Canada and attended the MFA program at California Institute of the Arts from 2000-2002 on a highly coveted merit scholarship.

Cassils uses plural gender-neutral pronouns (they, them, their) and asks that journalists do likewise when referring to them. This plurality reflects, through language, the position Cassils occupies as an artist. 

Paula Wilson: The Backward Glance
Feb
2
Apr 29

Paula Wilson: The Backward Glance

  • Bemis Center for Contemporary Art
Paual Wilson Lady, 2016 Acrylic, oil, woodblock print, monotype, gold leaf, on canvas, muslin, and board Dimension variable Courtesy the artist

Paual Wilson
Lady, 2016
Acrylic, oil, woodblock print, monotype, gold leaf, on canvas, muslin, and board
Dimension variable
Courtesy the artist

February 2–April 29, 2017

Paula Wilson’s work in painting, printmaking, video, and installation generates a world simultaneously realistic and otherworldly. Dense layering of color, image, and pattern in her pieces act as a visual metaphor for the complex stratum of histories and cultures that inform the work.

For her exhibition, Paula Wilson: The Backward Glance, the artist creates a processional space wherein ancient themes meet contemporary expression. Mining her ongoing investigations of race, identity, and objectification of the female body, this mise-en-scéne transports viewers into a mythical creation story composed of paintings, video, and prints on fabric. The six columns in the gallery’s center are a reimagining of the Athenian Acropolis’s caryatids—supporting marble pillars carved as draped female figures. In 1803, Lord Elgin removed one of the caryatids for his own collection, now housed in the British Museum. Wilson’s stoic females allude to this controversial event and show the five remaining caryatids as variant profiles of the artist herself. By seizing the identity of these historic heroines, the artist takes control and constructs an alternative narrative—a new and imaginative way forward for the displaced figure separated from her five sisters.

The black-and-white, four-sided caryatids on the square pillars give way to a colorful wall-sized collage. Released from the static block, each portrait becomes its own figure and strikes a bold pose against a cerulean sky. Their contemporary outfits, layered like spolia, show a fiercely creative spirit while the grouping argues for a bi-racial and multi-faceted embrace of self.  Holding their own, goddess like, they are one. We and the caryatids are free to move within new and imagined landscapes of our own.

Based in Carrizozo, New Mexico, Paula Wilson is a multi-disciplinary artist whose work is included in the collections of The Studio Museum Harlem (New York), Yale University Art Gallery (New Haven), Mildred Lane Kemper Art Museum (St. Louis), and Saatchi Gallery (London), among others. Previous solo exhibitions have been at Cherry & Lucic (Portland), The Fabric Workshop and Museum (Philadelphia), and the Center for Contemporary Arts (Santa Fe). She holds a Masters of Fine Art from Columbia University and presently co-runs the artist-founded organization MoMAZoZo and the Carrizozo Colony.

Paula Wilson: The Backward Glance is curated by Chris Cook, Bemis Center Executive Director.

Alexandria Smith: Try a Little Tenderness
Jan
14
Mar 25

Alexandria Smith: Try a Little Tenderness

  • Union Center for Contemporary Art

Alexandria Smith explores the transformative girlhood experiences that shape the women we become as she illuminates the complexities of Black identity. Try a Little Tenderness presents Smith’s new and recent paintings in which she obsessively deconstructs images of the female body. Legs, hands, and pigtails, for instance, become characters and landscapes—a topography of the artist’s psyche. Although her abstract tableaux have been interpreted as performances or aftermaths of violence, they actually represent bodies in flux: not-quite-adolescent girls beginning to develop senses of themselves as independent from the environments they inhabit. Collectively, they tell a mythical coming-of-age story that centers on the mental and emotional processes of self-discovery.

Ms. Smith is the first recipient of the Wanda D. Ewing Commission. The annual initiative supports the production and presentation of new work by a woman artist of the African diaspora.

Vindicating Facades - New Works by Dylan Lilla
Jan
13
Feb 3

Vindicating Facades - New Works by Dylan Lilla

  • Project Project

Project Project is pleased to announce the opening reception of Vindicating Facades featuring new works by Omaha artist Dylan Lilla. Lilla will be showing new sculptural pieces that confront an ongoing internal understanding while struggling with external, seemingly opposed foe(s). Please join us in celebrating Dylan and his work.

As always, Project Project opening receptions are free and open to the public. 

From The Reader:
Fences protect us-either to keep things out or keep things in. Dylan Lilla is inspired by the literal fence that surrounded his home and the metaphorical fence he’s built inside. 

Lilla’s new solo exhibition at Project Project is the result of the breaking down of these fences. The old boards and posts that stood in his yard now live as sculpture and installation, symbolic of a new life that Lilla has after recognizing a more fluid sexual identity. As part of this exploration, Lilla is also embracing the use of color. Inhibited because of color-blindness, he is discovering what he is capable of. With this endeavor, Lilla will push himself to venture outside of the fences that kept him safe, yet restricted.

Dan Crane
Dec
9
Jan 9

Dan Crane

  • Project Project

Project Project is pleased to announce the return of Dan Crane and his new show 👽🌟💗⏺▲ to our space, just in time for the Holidays! Part art show, part pop-up shop with a extra-hearty basement dance party to follow. All Project Project opening receptions are free and open to the public. 

From the artist:
Hey guys, what's up!? It's your boy DanCrane420 here!
so....👽🌟💗⏺▲ is the name of my new cool-stuff-display at PROJECT PROJECT.
There'll be hangables and handleables and wearables and incense and loud sounds and lots of vibes to be had. bring the fam & Thanks for watching and don't forget to hit Like and Subscribe!
 

Passion & Obsession
Nov
11
May 6

Passion & Obsession

  • Kaneko

The dynamic between Artist and Collector has governed the way the public views art for centuries. The focus of this exhibition is to highlight the importance of such collections not only for the institution but also as a resource for our community. Although it is difficult to convey, in exhibition, the profoundness of change and cycle that are intrinsic to the practice and lives of prolific artists, Passion and Obsession: From the Collection will do just that. Specially curated works from key collections in the region will join with pieces from the KANEKO collection for a powerful an exceptional visual experience. Artists include Viola Frey, Tony Hepburn, Leiko Ikemura, Jun Kaneko, Manuel Neri, Annabeth Rosen, Therman Statom, Goro Suzuki, Akio Takamori, Sunkoo Yuh, and a few other visionaries. While some of the artwork that will be presented from the KANEKO collection has never been shown before, other pieces in the collection have appeared in many major national and international museums.

TJ Templeton // Youthful Commodities
Nov
4
Dec 1

TJ Templeton // Youthful Commodities

  • Petshop

Tj Templeton is a Lincoln, Nebraska artist that works primarily 2 dimensionally in various media. Subject matter ranges from social justice issues to the natural beauty of his everyday environment.

The focus of this show is the result of a three year long project playfully titled "Cannery Kids" This project can best be described in the artists own words:

“'Cannery Kids' is a project involving the use of assemblages, encaustics, and forms of printmaking to bring into view a history that has gone mostly forgotten. In the effort to build a reminder of how much suffering and sacrifice has gone to improve American labor standards in the past century, I utilize public domain images taken by Lewis Hine 100 years ago as part of his efforts on behalf of the National Child Labor Committee. This body of work is as much a tribute to his (and fellow activists) efforts as it is to the children the images depict.

One component of this project features hundreds of sardine cans embedded with encaustic image transfers of the children that once labored in the sardine canneries circa 1911-1915. By embedding the images in the cans, devoid of context beyond their expressions, I hope to draw attention to the commoditization of these children. Not only was their labor exploited, but their very childhoods. By mass producing the cans in my studio, I invoke the very industrial output of their labors.

The process of encaustic image transferring is used frequently in my work involving historical issues. This method of printmaking is uncommon, as it’s infamously overly tedious with unpredictable results. Through years of experimentation I’ve pioneered a method which (while remaining tedious and able to preserve the positive aspects of its unpredictable nature) allows me to produce prints on a large scale; something rarely seen in encaustic art. "

actor setting figure ground
Oct
14
Dec 4

actor setting figure ground

  • Darger HQ

actor setting figure ground, opening Friday, October 14, at Darger HQ, will feature work by Kristina Estell (Duluth, MN) and Michael Ian Larsen (Lincoln, NE) and will be on view through December 4.  The opening reception will be 6:00 to 9:00 pm, with an artist talk at 6:00 pm.

actor setting figure ground is a two-person exhibition of sculptural gestures, shaping and reflecting on the fundamental nature of abstract figuration and immediate environment. Michael Larsen and Kristina Estell both rely on the aesthetic, physical properties of industrial and domestic building materials to create poetic relationships between object and space. This body of work delicately considers the value and implications of the sensual information that influences our understanding of the material environment.

Daily encounters with natural and constructed environments generate ideas of implicit action and reaction. Using a variety of processes and materials, Kristina Estell creates sculpture, installation, interactive and watercolor works that generate sensitive and dynamic material experiences. Estell received her BFA from Indiana University Purdue University at Indianapolis and MFA from University of Minnesota at Minneapolis and has participated in exhibitions and creative residencies nationally and internationally.

Michael Larsen received his BA in Art from Nebraska Wesleyan University and an MFA in Ceramics from the School of the Art Institute of Chicago in 2013, where he worked for one year following graduation. He has shown his work in several notable Chicago venues and produces installations, which incorporate ceramics as well as found and altered objects.  His work balances an innate interest in the organic with contemporary sculptural practice, creating installations that engage space and perception.  Narratives involving innocence, growth, and desire intertwine to form an Edenic backdrop that encourages curiosity and exploration. 

Sarah Hummel Jones :: Hiding in the Dark
Oct
7
Nov 25

Sarah Hummel Jones :: Hiding in the Dark

  • Petshop

Petshop invites you to the opening reception of "hiding in the dark" :: new work from Sarah Jones on Friday, October 7th, from 7-10pm!

From Sarah:
By layering forms, materials, colors, and light, I create new spaces for an audience to enter. In making these installations, I often draw inspiration from music videos and blipster culture, though the content of my work is not only dependent on these references. Some objects are fully recognizable, while others are ambiguous in order to allow viewers to make their own associations. Ultimately I want to create a space where people can easily immerse themselves in their imaginations.

I am an interdisciplinary artist who works with a variety of materials. Originally from Indiana, I am the youngest of five girls and an identical twin! I graduated from BGSU with a Bachelors of Fine Arts, after graduation I moved to Chicago, IL where I attended The School of the Art Institute Chicago for a year and received a Post Baccalaureate in Ceramics. I received a Masters of Fine Art in Ceramics from Cranbrook Academy of Art in 2014 and I recently moved from Brooklyn, New York to Omaha.

"hiding in the dark" will be up October 7th - November 25th and viewable by appointment @ petshopgallery@gmail.com.

ALEXANDER BONHAM-CARTER PHOTOGRAPHS
Sep
22
Oct 21

ALEXANDER BONHAM-CARTER PHOTOGRAPHS

  • Garden of the Zodiac


The Moving Gallery is pleased to announce a debut exhibition of color photographs by Omaha native Alexander Bonham-Carter. Opening on September 22 at the Garden of the Zodiac, 1042 Howard Street in the Old Market Passageway, this will be the first solo exhibition of this Kansas City-based artist. Photographs from two recent series will be featured.

Bonham-Carter’s digital still-life images from the series Belongings function as a kind of portraiture. He captures treasured mementos hung on walls, stashed on bookshelves, or hiding in intimate corners of domestic interiors. Items may be valuable antiques, family photos or trifling souvenirs of some fondly recalled experience and, with their self-curated incorporation into daily living spaces, create intriguing juxtapositions between past and present, as well as reflect the personalities and values of the owners. 

Conversely, the series Junk Food Misconceptions is a collection of still lifes arranged by the photographer in response to food industry spin that aims to convince consumers there is improved, even redeeming nutritional value to fast, processed and snack foods. Bonham-Carter’s film-captured images take cues from fine dining and haute cuisine photography: franks and beans are artfully served in fine china, with silver flatware, linen tablecloths and paired with red wine. Preferring irony over transformation, Bonham-Carter leaves clear the origin of his consumables rather than trying to elevate them to artisanal status.

Alexander Bonham-Carter was born in Omaha in 1987. He studied English and History at the University of Kansas, and more recently has undertaken advanced degree work in Education at the University of Missouri-Kansas City. As a photojournalist, his images were published in the Daily Kansan, the Lawrence Journal World, and various Sun Publications in Overland Park, Kansas. His current work as a teacher of at-risk youth at an alternative school allows him the experience of looking at culture and memory through a variety of lenses, as well as the opportunity to develop his own photographic projects.

Alexander Bonham-Carter opens on the evening of September 22, 2016, and runs through October 21 in the Garden of the Zodiac Gallery, 1042 Howard Street. The gallery is open Tuesdays through Saturdays from noon to 8:00pm and on Sundays from noon to 6:00pm. For further information, please contact 402.517.8719 or vmercer3@cox.net.

pas gentil
Sep
10
Oct 9

pas gentil

  • Darger Hq

pas gentil, opening Saturday, August 13, at Darger HQ, will feature work by Kim Darling (Omaha, NE) and Jean-François Leboeuf (Montreal, Canada) and will be on view through October 9.  The opening reception will be on Saturday, August 13 from 6:00 to 9:00 pm, with an artist talk at 6:00 pm and a performance at 8:00 pm.  The performance will be a collaborative performance by Darling and Leboeuf. 

Darling and Lebeouf’s work is rebellious, revolutionary, defiant, and examines and defies conventional notions of gender, race, sexuality and society and cultural norms.  “Pas Gentil” is French for “not nice”, is a play on Nebraska Tourism’s branding of Nebraska Nice and a commentary on the importance of insurgency in today’s political climate.

Kim Darling works in range of media from ranging from painting, sculpture and performance.  Her work explores ideas of gender, social and political issues and taboo breaking.  Drawing upon historic and contemporary icons from our unconscious reality, this work explores a sacred/profane dichotomy using mark making generated in a method similar to automatic writing. This content is drawn from myths and is seen in fragmented and compartmentalized layers. Graphic shapes are synthesized into a seamless, cacophonous flow, harnessing a frenzied vigor.

Darling holds a BFA in studio art from the University of Nebraska at Omaha. She participates in residencies throughout the country and has been featured in regional solo and group shows. Darling's passion for collaboration has led her to social practice and partnerships with local, national, and international artists and arts organizations.

Jean-François Leboeuf’s Artist Statement:

With the remains of junk culture and the relics of daily trivial, my work probes the strange and grotesque by amalgam and recontextualization. My multidisciplinary corpus cites even as it plunders the surrounding consumer cultures, keeping a soft spot for decadence, frivolity and social exclusion. Combinations of signs and morals gives birth to fictional beings who take flesh in performance and video scenes. The actions are portrayed in a certain banality while often switching to absurdity and irreverence. This coarseness is however washed by a meticulous formal treatment both used in drawing and photography. Identity disorder, semiotic chaos and allegory of excess...it's on these tracks that wander my performances, videos, photographs, drawings and installations.

Leboeuf received his Master of Arts L'Université du Québec à Montréal (UQAM) and his Bachelor of Visual Arts at Laval University (Quebec, Canada) and Ecole des Beaux- Arts de St- Etienne (France).  Leboeouf has had exhibitions, performances and residencies in Canada and abroad.

pas gentil is part of a series of collaborative and experimental projects facilitated by Darger HQ.  Darger HQ connects Nebraska contemporary artists to the world by creating collaborative working opportunities between local artists and national and international artists with related practices, and develops partnerships that benefit artists by providing new means of support through combined private and non-profit sources. Darger HQ also educates, enriches and exposes the community to some of the most innovative contemporary art being produced toda you know to be true that I find so interesting, especially when those two truths are at odds.”

Waterbody
Sep
9
Oct 7

Waterbody

  • Project PROJECT

 

Project Project is pleased to announce the opening reception of Waterbody by Jess Machacek and Ella Weber featuring drawings, digital prints and three-dimensional work. Join us in celebrating work by two artists that we believe in wholeheartedly. 

As always, Project Project openings are free and open to the public.

About Ella Weber:
Prompted by an overtly dramatic break up, Ella downloaded the infamous dating app Tinder. After three sad dates and a reality check, she began to notice a trend: profile after profile of singular dudes holding a singular fish. She inevitably stopped pursuing “love” and decided to use Tinder strictly for research, collecting hundreds of men holding fish, one swipe at a time. From this ongoing research she has created a large series of drawings and prints in response to the complexities of blind dating, sexuality, and consumerism within a contemporary context. 

Ella received a B.F.A from the University of Nebraska–Lincoln in 2010 before receiving an M.F.A with honors from the University of Kansas in 2015. She has exhibited her work nationally and internationally. She has been an artist in residence at Anderson Ranch Arts Center, The Wassaic Project, Woodstock Byrdcliffe Guild, The Kimmel Harding Nelson Arts Center and will attend Ox-Bow this fall. Ella resides in her parents basement in Omaha, NE and can be found smiling in the deli department of Hy-Vee. 

About Jess Machacek:
Jess' recent body of work, Plans for ponds, stems from a series of banal Google searches:

ponds

pond shapes

preformed ponds

backyard pond

fish pond

pond planning

Her work considers the seductive aesthetics of familiar domestic products within the context of consumerism and idealized suburban home-scapes. Formal elements of the products are fetishized and reinterpreted with new functions and environments. Staged scenes of hoses mimic line drawings in space and manufactured pond forms become voids or bodies.

Jess’s work is a response to the contemporary notions of the suburban picturesque– an idea that is constructed and maintained for the consumer and spectator, for pleasure and leisure, for adornment and aesthetic.

Jess was born in Omaha, Nebraska and received her BFA from the University of Nebraska-Lincoln. She holds an MFA from the University of Georgia. Her work has been selected for numerous exhibitions nationally and she has completed residencies at Vermont Studio Center and The Wassaic Project. Jess is currently based in Athens, Georgia where she works as a studio assistant. 


From the Artists:

Your yellow hue
outlines my summer, wraps
drops
from a hose

imply a straight line
across iridescent flesh
sit back above ground
tranquil “Neptune”

waves like new, awake
in a pool of thirst
a surface of lust

plans for ponds
intoxication of needs
overflow
down the falls
afloat

every,
body contours
a simple guy wants
to matter to
some, any
a body

paradise, no holes
--

Project Project is curated by Joel Damon and Josh Powell

Jul
15
Jul 22

Ian Tredway: Barriers, Blankets, 0619

  • Project Project

Once in a while an artist shows up that blows your Hello Kitty socks off so hard that you have to double up your exhibition schedule. A few months ago we were introduced to Ian Tredway's work and just couldn't wait until next year to show his haunting found-material work. 

About the Artist:
Ian Tredway is a Nebraskan artist living and working in Lincoln. Ian received a Bachelor of Fine Arts from the University of Nebraska-Lincoln, with an additional residency at Santa Reparata School of International Art in Florence, Italy. His work has won him the Jean R Faulkner Award Memorial Award and a first place Laurus Visual Art Award. Primarily working on multimedia installations and paintings, he also works in computer and clothing design.

From Ian:
My work is a catharsis. It is finding solutions to an increasingly discordant and convoluted world. The work is in constant state of flux and without finality. No action or material used is either right or wrong and each is a reaction to the previous. Materials such as cloth and plastic weed barriers, stains mixed with stain-remover, and abandoned trash entertain multiple contradicting ideas at once in an attempt to find structure. 

Within these negotiations, works are reused and destroyed, cut-up and reapplied. What was a solution one day may be repurposed for a separate argument the next. Each installation of the work creates new alterations that were not there before: a new tear or crease in the fabric, a different distortion of lighting, or a slight adjustment to the hanging. The work is open-ended and mutable.

RECEPTION
Friday, April 8: 6:00 to 10:00 p.m.

VISIT PROJECT PROJECT
By appointment: Email projectproject@gmail.com

SOURCE: https://www.facebook.com/events/1752235521678906/

Jul
8
Jul 30

Presence of Labor

  • Wanda D. Ewing Gallery

The Union is pleased to present Presence of Labor, an installation by Union Fellowship Alum Sarah Kolar in the Wanda D. Ewing Gallery. The work recalls the dynamic relationship between the consumption that commodity obsessed culture imposes and the form of the structures presented. Kolar explores the global production process of creating yarn to be knit into fabric to be sewn into a shirt and relates it to her large-scale fiber sculptures that evoke the process that goes into creating an individual garment.  

Exhibitions are free and open to the public.

RECEPTION
Friday, July 8: 6:00 to 9:00 p.m.

VISIT WANDA D. EWING GALLERY
Wednesday: 4:00 to 7:00 p.m.
Saturday: 11:00 a.m. to 2:00 p.m.
Or by appointment: email paige@u-ca.org

*Please note that our gallery has moved to 2520 N. 24th Street. Parking is available in the Omaha Small Business Network parking lot just east of the gallery.