Works by: Philip von Raabe, Christopher Stewart, Melanie Yazzie, Xu Bing, Akira Kurosaki, Pam Longobardi, Adele Henderson, Carol Summers, Lari Gibbons, Maureen Cribbs, Suzie Treinen, Rokeya Sultana, Patricia Hernandez, Kevin Garber, Isaiah Jones, Bob Nugent, Barbara Takenaga.
by Karen Kunc evoke the inexorable tension of our times and the realization of
irrevocable change. Created after the personal loss of the artist’s life
partner, these striking images of waiting and potential transition offer a
contemplative space. The pandemic years
coincide with this time of grieving, causing isolation, loss, universal sadness,
and greater possibility of change for all.
These works-in-progress are the artist’s response to this moment in time
and offer a visual metaphor of such transition and a memorial to our loved ones
prints are created through the reduction woodcut process, from multiple blocks
that were each printed and carved, then printed and carved again in an
evolutionary process. Using selective
inking and transparent-to-opaque ink qualities there are unique aspects of
revealing and concealing, that mirrors the metaphoric meanings.
showing will be new artist books, with etchings and eco-printing.
Studios is a “laboratory” site for testing how these new printworks go
together, and how to live with art. Catching
sight, passing by, studying over time becomes an immersive awareness, and
allows for seeing and knowing what feels right.
Join in this experience – an explosion – of color, new forms, and
Studios is pleased to host Stephanie Wright, as a Guest Artist-in-Residence, a
new program to foster local artists for special projects. Her current body of work focusing on large
scale drypoint prints on paper, will open on August 6 for First Friday, expand
with new work throughout her residency and end September 25th with
the installation and imagery transformed. Stephanie’s prints use animal imagery
to activate a narrative of interrelationships and emotions of love, nurturing,
rage, jealousy, social anxiety, fear and contemplation.
has an uncanny drawing ability to capture such instinctual moods, through a
turn of the head, glance of an eye, a furrow or eyelid lift, that wordlessly conveys
such a range of emotions. She builds tensions
through groupings, using space and placement to create isolation or movement. She scratches on plastic sheets with an
etching needle to make a roughly textured
image, which catches the printer’s ink when the plate surface is wiped. The plastic plate is run through the etching
press with damped paper to impress the inky image into paper. In this way she can work directly and on a
large scale, creating the enormity of an emotional body manifesting in flesh,
hair, fur and faces, twisted in response to its own sentience.
Wright earned her MFA at the University of Nebraska with a focus in Printmaking
in the spring of 2017. She grew up in Louisiana and earned her BFA at the
University of Louisiana at Lafayette in 2014. She is an instructor and gallery
manager at Live Yes Studios, Lincoln.
The artist states: “Even the animal
subjects of my images are in performance for a human audience. Bare impressions
on paper are a seemingly essential method of human-to-human communication–
particularly when speaking through images of our animal peers to describe some
aspect of ourselves, our society, where we fit in nature. The only truth that
seems to reveal itself through our depiction of “the animal” is our
self-awareness. A conceptualized and calculated portrayal of the “other” more
so reflects and informs one’s portrayal of the self. Our symbolic descriptions
of the world become a one-sided conversation- a mirror of one’s condition, and
a possible beacon to our peers or “the other.” In the search for definition in
our surroundings, through the drawing of the “creature,” we give off an
unknowing longing, a signal of desire for communion, comfort, solace. An unspoken,
less-humored feeling that we must have been lacking for some time in an
understanding that is essential to our being but no longer disclosed to us. We
cannot be as easily informed about ourselves. The human condition is in no way
objective. In my active visual exploration I–like most humans– am in a
constant process of learning, realizing and developing myself through the
practice of invoking that communion between myself and my most personally
perceived portrayal of the “other.”
Artist in Residence Elizabeth Katt will be working at Constellation Studios this summer to continue her performance/action, “an accounting” begun in 2020. By hand, she meticulously documents each death due to coronavirus in the United States – one tally for each life lost, according to data from Worldometer and Columbia University. The piece’s significance is apparent as heaps of adding machine tape attest to COVID-19’s toll. Since starting the piece Katt’s silent labor has used 43 rolls of tape and will be continuing as she aims to document losses to date. Katt says out loud the number of lives lost to COVID-19 per day as it is recorded by her tally marks. It is her way of coming to terms with the inconceivable losses the US has suffered – breaking down the number 615,679 into small, manageable chunks. It drives home the fact that these losses were incremental and cumulative, each day filled with preventable death.
Katt will be at the studio 1-5 each Tuesday and Thursday, June 22 – end of July.
Katt is a current MFA graduate student at the University of
Maryland College Park, and she received her BFA from the UNL School of Art, Art
History & Design in 2016.
Katt will be at the studio 1-5 each Tuesday and Thursday,
June 22 – end of July.
Constellation Studios presents the new prints of Isaiah Jones, who imagines an ordinary domestic dialogue as an extraordinary sequence of etchings with text-as-image. In these prints, her hand lettered phrases could be spoken or thought by anyone, with the effect of shouts and whispers, as threads of dialogue repeat and spiral into graphic recombinations, as words are redacted, erased, and layered as if echoing memory and visualizing sentences in space. The narrative allows for relationships to grow, then deteriorate, emphatic declarations become misunderstandings, exploring and voicing inner expressions of desire and anxiety.
created her prints through the etching process, which uses acid to bite into a
copper plate. Areas are preserved with
acid resistant grounds while open areas are allowed to etch below the surface,
which is where the image is developed.
During printing, the plate holds the ink in the etched textured areas,
while the unetched areas are wiped clean.
The plate and paper are run through the press under great pressure to
cause the transfer of ink to the paper.
Additionally, Jones further worked the plate by using tools to burnish
or scrap the image away, leaving a “history” of what was once there, while new
areas were also etched into the plate, for a sense of layering and continual
evolution. The print is the record of
her actions, allowing the storytelling to “hang in the air”. Jones’ print series has a sense of urgency as
the quantity of impressions alone demonstrates a “give and take” of flowing
ideas and importance of communication.
Jones is a Lincoln artist and recent graduate of UNL with an MFA degree. Jones
was raised in the mountains of western North Carolina, and earned her BFA in
Printmaking from the Savannah College of Art and Design in Atlanta, Georgia, in
2015. She has exhibited her work locally
and served as the master printer to guest artists in Lincoln, Atlanta and
Savannah. Jones utilizes traditional printmaking, language, and storytelling to
create individual prints and large-scale installations.
Gallery Talk May 4, 5:30- 6:30, Instagram LIVE, and at the gallery
presents a focused exhibition of the woodcut prints of studio member Anne Burton. Created recently for a major commission for
the Children’s Hospital and Medical Center in Omaha, these works on paper use a
quilt-like form to contain microscopic details of cells, hidden insects and
plants of Nebraska, a kaleidoscope of color transitions, while all resonating
with joy. Anne interprets her own cares
as a parent into a healing experience, that recognize the complexities and
vulnerabilities that we all share.
A prism is a form that can both clarify and
distort. Light that travels through a prism bends to become visible as colors.
The invisible is made visible because of this interaction. The light itself is
not different, however the way we see it is transformed. As we all emerge from
a time of self-reflection and sorrow, this work reflects on how the shared
experience of collective hardship might lead us to change. We seem to have a
moment where we have the potential to radically change our relationship to the
world and one another.
This body of work began before the pandemic
as an exploration of my younger son’s illness and surgery after inhaling a rare
form of bacteria while playing in the dirt. That experience made me intensely
aware of the fragility of human health and how greatly it can be impacted by a
single random event. Through researching domestic ecosystems, I became
cognizant of just how much human health can be impacted by the destruction and
manipulation of the natural world. On a larger scale, and now seen through the
shared experience of a global pandemic, this work is an exploration of how we
all live in a delicate balance with the natural world. My son had his surgery at CHMC three years
ago, and time has helped to bend those difficult experiences back towards
from Virginia Beach, VA, Anne now lives in Lincoln, NE with her husband and two
young sons. She is a full-time faculty member in the Art department at
Metropolitan Community College in Omaha and the ARTS program coordinator. She
teaches Printmaking, 2D Design and Drawing. She holds a BA in studio art from
the University of Richmond and an MFA in Printmaking from the University of
Nebraska-Lincoln. Anne has held residencies at Vermont Studio Center, the
Kimmel Harding Nelson Center for the Arts and the Cable Factory in Helsinki,
Finland. Her work has been exhibited nationally and internationally, most
recently in the Duoro Print Biennial, Portugal, The Boston Printmakers North
American Biennial, the Lawrence Arts Center, and the Awagami Miniature Print
exhibition presents the power of letters impressed into paper to print text for
posters, prints, bookworks, and broadsides.
These works are drawn from the Constellation Studios collection and
includes poetry, images, and timely assertions, as beautifully crafted objects,
or ephemera from events or announcements.
These are captivating for the graphic nature and physical dimension of
the printing, hand-produced by a variety of artists and designers.
years, from Gutenberg to the 1960’s, movable type of metal and wood held sway,
yet printing technologies evolved to offset lithography and digital processes,
which are more commercially prevalent now.
This left space for the renaissance of letterpress today, as artists and
designers use the “reclaimed” metal and wood type and vintage presses for
quality and hands-on directness. Now
this historic printing technology moves into the 21st Century as artists
strive to maintain and preserve the cultural legacy of fine press printing
while advancing it as a living art form, becoming self-publishers that embody
the power of the press, literally.
exhibition is curated by Kyle Nobles, assistant at Constellation Studios.
M. Rives Aukerman & Meda R. Rives Smith, Normal, Illinois
St. Louis, Missouri
Jill Powers, Boulder, Colorado
joins in the city-wide FiberFest featuring an exhibition
of unusual works made from various paper fibers: abaca (banana leaf), kozo bark
(related to the mulberry tree), and pigmented cotton. Artists invent new ways to form the fibers
from casting sheets for collage effects, to wet binding translucent layers, and
hand beating to expand the fiber for shaping.
Veda & Meda present Magnolia,
a BookEnviron installation, sparking an experiential journey to seek an
intangible connection to that which is beyond.
Tom’s works are never-before-shown handmade paper collages, for the “jamais vu”,
from French, meaning “never seen” phenomenon of experiencing a
situation that one recognizes, but that, nonetheless, seems very unfamiliar. Jill is exhibiting unique artists books with
pages of webbed kozo fiber, that carries the message of ecology and changes to
Veda M. Rives Aukerman and Meda R. Rives Smith
are artists and identical twin sisters who pursue interests in printmaking,
handmade paper, artists’ books, and BookEnvirons; creating artworks both
independently and collaboratively. Veda is Interim Director of Normal
Editions Workshop (NEW) in the Wonsook Kim School of Art at Illinois State
University, Normal, Illinois. Meda has been a member of the art faculty
at Illinois State University and Heartland
Community College in Normal, Illinois; and at Eureka College in Eureka,
Illinois. Both artists have exhibited
widely throughout the U.S. and internationally.
Tom Lang is Professor in the Department of Art,
Design, and Art History at Webster University. He earned an M.A. in Aesthetics
and an MFA in printmaking from Ohio State University. He studied with S.W.Hayter
and Krishna Reddy at “Atelier 17” in Paris.
His interest in papermaking came from a workshop with Garner Tullis,
which lead to his own long-term study of the history and techniques of
hand-papermaking. His work has been
exhibited throughout the U.S. and in Europe.
Powers creates sculptural, and installation art with unusual natural materials.
Her primary art material is an inner bark, which she has developed as a
contemporary art medium. Jill teaches in the Visual Art Department at
Naropa University in Boulder, Colorado. A graduate of Tyler School of
Art, Jill has shown her work internationally, and her work is in private,
corporate, and museum collections.
Installation views of Karen Kunc prints and Kenny Walton Glass, plus some unusual and beautiful studio items including leather bound books, small boxes, note cards, blank books and artist books. See the “salon style” installation of Karen’s demonstration prints from her years of teaching printmaking courses and workshops….fun and loose experiments in lithography, etching, screenprint, and woodcut.
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