For information on past exhibitions, contact us:
by Brian Andrew Coate
February 26 - April 6, 2018
“It is easy to view the past with rose colored glasses, seduced by the silver glow of a classic film, the smell of an antique book, or the ghostly imprint of an old photograph. Like the narratives we create, these things serve as distractions, escapes, and often as indictments.
This is where I look when creating paintings and drawings; portraits referential to perceived romantic notions of the past in relation to our own present. With this work I strive for ambiguous narrative; allusions to the sensual, the spiritual, the political, the spectral, and the unknown. There are implications of sinister and enigmatic forces, something beyond the veneer, something truthful, something absurd.” -Brian Abdrew Coate
A Quilter's Commandments
works by Carol J. Thompson Falk
January 8- Friday, February 16, 2018
Carol J. Thompson Falk, PhD retired from Concordia College after a long, successful career as a professor, and soon moved to Nebraska City in 1994 with her husband, Laurence L. Falk, PhD. Carol intended to take up quilting during her retirement, and that, she did indeed do.
Over the next 15 years, Carol created over 50 quilts that she displayed in shows at local, state, and national levels. In fact, the very first quilt she completed won "best in show" at the Lincoln State Fair, which came as a happy surprise for Carol. Most of her completed quilts won various awards over the years, and after her passing in 2009, two of her quilts were accepted into the permanent collection of the International Quilt Study Center & Museum in Lincoln, NE. She was also posthumously inducted into the Nebraska State Quilt Guild Hall of Fame in 2017. Carol believed in treating each quilt as a work of art, and felt there was room in quilting for many different talents and levels of ability, from simplest to most complex.
works by Lisa Lockman
October 30- Friday December 15, 2017
Misplaced features pieces of a variety of media and holds a very personal meaning for Lockman. She describes it as her Ancestry Project, born from her curiosity about her female ancestors. Being able to trace her male ancestry back multiple generations, Lockman began this project in order to fill in the missing names of her many great-grandmothers. In her own words, “I wanted to know about my paternal grandmothers, so I mapped out a fanned chart on my office wall of all the women on my paternal side back five generations: 31 women and 31 different surnames. I know nineteen of their names, but twelve are still lost to me. That map became the impetus for the current direction of my work.”
One piece in particular, Agatha, is named for Lockman’s eighth great grandmother. Made out of 256 individually thrown ceramic forms, each piece is decorated with designs created in software then applied as decals using three different processes: screen-printed enamel glazes, iron oxide decals, and laser printed decals. The number of forms, 256, is very significant, as it is the number of grandmothers Lockman found in that entire generation; of which, Agatha was the only first name she was able to confirm. Agatha’s birth surname still remains unknown.
Esprit de Corps
Photographs by Walker Pickering
September 11- Friday October 20, 2017
Walker Pickering joined the high school marching band when he was 14 years old. He was already a student musician, but it was this new combination of performing music in motion that affected his perspective and ultimately changed the trajectory of his life. “A kind of family formed around me at a time when it was most critical, and through this new structure and discipline, I began to better understand who I was as an individual.”
In Pickering’s words, “At first glance, it seems these groups should no longer exist. With a decrease in civic engagement over the past few decades, a decline in popularity was poised to follow. But in America, the band became inextricably linked to football, so it persists as anachronism. With arts budgets under attack in the US, vital programs like these are at extreme risk, especially in less affluent areas where they’re needed most. Marching band isn’t about music or marching, it’s about people learning to pursue a common goal that transcends their own individual efforts.”
Photographs by Jennifer Bockelman
July 31 - September 1, 2017
Jennifer Bockelman’s recent series of photographs come from an interest in themes of power as filtered through language, in particular, official governmental output such as tweets. Caput Mortuum, or literally “dead head,” refers to the worthless residue left after an alchemical transformation or to a worthless element. This exhibition reflects an attempt to pit magical thinking against its own logic, to transform lead into gold.
Works on paper by Diana Behl
May 29 - July 20, 2017
The title And Branching draws its name from a happenstance combination of collage elements, and refers to a generative method of working intrinsic in my work. I engage in various processes of inquiry using print media, drawing, collage, and installation. Images are prompted by a fusion of specific instances—memories of places visited, passages read, bits of everyday references, or interactions of material and form—both in and outside of the studio. Using these prompts, my practice then evolves around improvisation and material encounters uncovered while making, further enabling form to embody the evolution of that specific cue.
Impermanence of Knowledge: Drive Not Found
Works by Gregory T. Davis
April 10 - May 18, 2017
Impermanence of Knowledge: Drive Not Found looks at how we lose access to information and knowledge, particularly when the technology that renders the storage of that information becomes obsolete. Gregory T. Davis’s artistic response to this conundrum is to build imaginary machines that could recover that knowledge. “It is my goal to spark a conversation with the viewer about how we store information and the ramifications for future access as technology changes so quickly”. The exhibition includes ten black and white photographs of Davis’s invented machines and two installations, including one interactive machine.
The Barada Hills of Nebraska
Poetry by Jan Chism Wright and Paintings by John Frederick Lokke
February 27 - March 31, 2017
The Barada Hills of southeastern Nebraska have a unique and colorful history. These bluffs along the Missouri river, located primarily in Richardson County in southeastern Nebraska, are named after Barada town founder Antoine Barada. Antoine was the son of French Count Michael Barada and Laughing Buffalo, a member of the Omaha Tribe. The Barada Hills were documented in 1804 during Lewis and Clark's expedition, and again by Prince Maximilian and artist Carl Bodmer nearly 30 years later.
The Barada Hills of Nebraska is a collaborative project that began in 2003. Pairing the watercolors of John Frederick Lokke and poems by Jan Chism Wright, the exhibition highlights the rich and subtle beauty of the area, capturing remnant echos of times gone by as well as the ongoing evolution of the land and its inhabitants.
Fade Like Sigh
Photographs by Zora J. Murff and Rana Young
January 7 - Feb 17, 2017
Photographers Zora J. Murff and Rana Young examine gaps that occur in visual communication, between what we know, and what we think we know. Through their dialogues about a shared experience -- exploring the void left by an absent parent -- the question posed between these artists is: what do you remember? This exhibition creates a visual call and response surrounding these memories, and the particular way we remember through images.
In the Presence of Trees
Photographs by Michael Flecky
Gallery Reception: Thursday, November 17th, 5 to 7 p.m.
On view: November 11 through December 16h, 2016
Flecky’s recent series of photographs began during a sabbatical while an Artist-in-Residence at the Ucross Foundation in Wyoming. Flecky created photographic images using leaves and branches from the imposing cottonwood trees on the Ucross grounds. These amazing found objects returned with him to his Ucross and Omaha studios, and have influenced his treatment of other natural materials in his photography. Flecky photographs these natural still life arrangements in traditional and experimental ways, with a large format film camera, scanning the film negatives, and exposing objects directly to photographic paper as “photograms” or cameraless images. The resulting black and white images are highly detailed but surprising unfamiliar in their scale and context; they are simultaneously crisp and haunting.
Michael Flecky SJ was born in Omaha, and has BA, MA, and MFA degrees from St. Louis University and Rochester Institure of Technology. His photographs have appeared in solo and group exhibitions throughout the US, and he has participated in numerous artist residency programs. He teaches photography at Creighton University, and his book Hopkins in Ireland: Pictures and Words, was published by Creighton University Press in 2008.
86 Bad Vibes: TXTS in the Age of Mechanical Reproduction
Prints and Drawings by Breanne Trammell
Gallery Reception: Thursday, October 20th, 5 to 7 p.m.
On view: October 3 through November 4th, 2016
The Kimmel Harding Nelson Center for the Arts presents a new exhibition, 86 Bad Vibes (TXTS in the Age of Mechanical Reproduction): Prints and Drawings by Breanne Trammell, beginning Monday, October 3rd and continuing through Friday, November 4th, 2016. The gallery reception will be held October 20th, 5-7 p.m., coinciding with our Third Thursday Open Studio event.
86 Bad Vibes (TXTS in the Age of Mechanical Reproduction) features a collection of letterpress prints and drawings. “86” is a back-of-house term in restaurant culture, a way of communicating that the kitchen has run out of a certain ingredient or dish. Born out of her past experience working in food service, Trammell has adopted 86 BAD VIBES as a personal mantra for daily life.
Participation in social media is an extension of Trammell’s art practice. Trammell counters the immediacy and temporary nature of social media platforms like Twitter and Snapchat by reproducing these social shares in slow or painstakingly technical media like drawing and letterpress printing. TXTS in the Age of Mechanical Reproduction is an ongoing series of prints that sources texts from Trammell’s Twitter archive (@breanne). A decade-long Twitter user, Trammell’s entries contain notes to self, dumb jokes & puns, celebrity sightings, fake celebrity sightings, bird sightings, and more. This project filters and transforms these digital entries into tangible objects through letterpress printing. Each print is characterized by a different ink color, typeface, and paper choice; the resulting effort of time, uniqueness, and tactility of each print alter how these quick communications resonate with readers. Trammell was a resident in 2015, and is currently Assistant Professor of Print Media at Kent State University in Kent, OH.
Room & Board
15 Years of the Kimmel Harding Nelson Center for the Arts
On view: August 15 through September 23rd, 2016
Room & Board, 15 Years of the Kimmel Harding Nelson Center for the Arts, celebrates the history and continued growth of KHN’s residency program, which provides exceptional emerging and professional artists, writers, and composers with space and uninterrupted time to pursue creative work in Nebraska City. Room & Board honors the relationship between our vibrant residency and the many individuals who have shaped the success of this program, featuring artworks by past and present KHN directors and advisory board members. Participating artists are Denise Brady, Jenni Brant, Santiago Cal, Gary Day, Pat Friedli, Kathy Puzey, Joe Ruffo, Amanda Smith, and Elizabeth Stehling. In addition to the gallery exhibition, works by former resident artists will be on display throughout our building.
Sculpture by Qwist Joseph
On view: July 4 through August 5, 2016
Qwist Joseph’s sculptural work delves into thought process through object creation, collection and composition, in an effort to record its evolution and fluidity. Toward Firmness showcases these ephemeral moments frozen in permanent materials, creating both tension and connection between the past, present and future. Disorienting displays resist obvious definitions, anticipating the discovery of meaning to come through the experience of looking. American culture is one of immediacy and knowability; this work is meant to offer a departure from that monotonous reality.
After many years working alongside his Dad at the family bronze foundry, Qwist Joseph received his BFA from Colorado State University and later his MFA in ceramics from the University of Nebraska-Lincoln. Currently, he is a Windgate Fellow summer resident at the Archie Bray Foundation for the Ceramic Arts in Helena, Montana.
Sculpture by Josh Johnson
On view: May 16 through June 24, 2016
Sculptor Josh Johnson makes connections between two environments -- one at hand, and the other
remembered. Resemblance Erosion offers a sideways glance of Plains landscape, softening the
edges between the physicality of what is materially accessible and the limited view offered by the
mind’s eye. Drawing upon the rock formations of the South Dakota Badlands and their fabricated
proxies dotting Lincoln’s Antelope Creek greenway, Johnson carves, fabricates, and joins secondhand
materials into lonely vistas alluding to the slippages associated with memory’s shaky hold on
Josh Johnson earned a BFA at the University of North Dakota, and an MFA at the University of
Nebraska-Lincoln. He has exhibited nationally, including shows at the Joslyn Museum in Omaha,
Colorado State University, and Manifest Gallery in Cincinnati. Josh received a 2016 Nebraska Arts
Council Individual Artist Fellowship, and was twice selected as a finalist for the William and Dorothy
Yeck Young Sculptor’s Competition at Miami University in Oxford, OH.
Paintings by Barbara Simcoe
On view: April 11 through May 6, 2016
Barbara Simcoe’s figurative paintings feature women exclusively, examining a range of feminine archetypes: woman as mother, as earth, as a vessel of creativity, or as complement to masculine divinity. Simcoe works with these archetypes to create artworks that function as metaphor, giving form to the non-visual and incomprehensible.
Barbara Simcoe earned a BFA at the University of Illinois, and an MFA at the University of North Texas. She has exhibited nationally and internationally, including shows at ARC Gallery in Chicago, Loyola University, The Foundry Art Center in St. Charles, MO, Florida State University Museum of Fine Arts, and the Urban Institute for Contemporary Art in Grand Rapids, MI. She was a Fulbright Scholar to Lithuania, and a Visiting Artist in Residence at the American Academy in Rome. Simcoe is currently a Professor of Art at The University of Nebraska-Omaha.
The Walking Shrines
Work by Tom Kreager
On view: February 29 through April 1, 2016
Glass artist Tom Kreager’s series The Walking Shrines is inspired by shrines he encountered on walks while living and teaching in Japan. Taking note of the differences in decoration and meaning in these Japanese shrines, Kreager began making his own sculptural forms detailing small, but memorable moments from his personal experiences, as tribute to his past, present, and future.
Tom Kreager earned a BFA at the Ohio State University, and an MFA at the University of Illinois. Kreager has exhibited widely, and has worked on projects with Dale Chihuly, William Morris, Judy Pfaff and Dennis Oppenheim. He is the recipient of a Nebraska Arts Council Fellowship, was nominated for the Louis Comfort Tiffany Award, and served on the Board of Directors for the Glass Art Society. Kreager has taught at the Pilchuck Glass School in WA, the Penland School of Crafts in NC, The Tokyo Glass Art Institute, and the Bill-Werk Glass School in Germany. Kreager is currently a Professor of Art at Hastings College in Hastings, NE.
Windswept, or Windfall
The Paintings of Morgan Craig
On view: January 4th through February 19, 2016
The Kimmel Harding Nelson Center for the Arts is proud to present an exhibition by Philadelphia-based painter Morgan Craig. "Windswept, or Windfall" features dense compositions of architectural structures that examine how societal identity is influenced and expressed through architectural edifices. Craig states, “my work is not merely a method of documentation, but a sociopolitical commentary on the effects of hubris, avarice, free trade, outsourcing, deregulated capitalism, and technological obsolescence upon communities throughout the world.
Craig was an artist-in-residence at KHN in 2014. He has exhibited throughout the U.S.A. Canada, Europe, and Australia, including OK Harris in New York City, SPACES in Cleveland, the Delaware Center for Contemporary Arts, and the Australian National University. Craig has received numerous awards including, the Pollock Krasner Foundation Grant, the Elizabeth Greenshields Foundation Grant, and the Pennsylvania Council on the Arts Individual Artist Fellowship. He has also been invited to several residencies including, Cite Internationale des Arts, the Macdowell Colony, Bemis Center for the Contemporary Arts, and Proekt Fabrika in Moscow, Russia.
Places I Sleep
An exhibition of photographs by Sarah Berkeley
Gallery Reception: Thursday, November 19th, 5 to 7 p.m.
On view: November 9th through December 18, 2015
The Kimmel Harding Nelson Center for the Arts is proud to present a series of new photographs by Sarah Berkeley entitled, “Places I Sleep.” The in-progress series is themed around the interior spaces that the artist has inhabited for at least one night. Berkeley, an assistant professor at Nebraska Wesleyan University, has exhibited frequently in Nebraska, as well as nationally and internationally. Her work frequently questions cultural norms such as the 9:00 to 5:00 work day, the office environment, indoor living, gender stereotypes, and the voluntary sharing of personal data. Regarding her new photographic series on display at KHN, Berkeley states, “outward looking views alternate with contemplative images of ceilings, speaking to domestic space as both confining and a portal for spirituality.”
Sarah Berkeley is an artist who works across media creating public interventions and durational performances which she documents using photography, video and GPS. She holds an MFA from University of Michigan (2011) and a BFA from University of Nebraska-Lincoln (2002). She has completed residencies at the Kimmel Harding Nelson Center for the Arts, The Ragdale Foundation, Vermont Studio Center, ACRE, the Cedar Point Biological Station and 8550 OHIO. Her artwork has been collected and exhibited internationally including the Joslyn Museum of Art, Defibrillator Gallery, Rapid Pulse, Rutgers University, and Mana Contemporary.
Upset the Applecart
Art beyond carefully laid plans
Launa Bacon, Charley Friedman, Nancy Friedemann-Sánchez,
Pat Nelsen, Steve Snell
Curated by Elizabeth Stehling
Exhibit dates: September 14 through October 30, 2015
Select artists were in the AppleJack Parade on September 19th
The idiom, to upset the applecart is said to have begun when the farmers in the late 1800s would cart fresh apples from the orchards, neatly stacked, to sell at a local market. When someone unaware of the delicate arrangement, knocks over the cart, and spoils the plan. Upset the Applecart corresponds with Nebraska City’s annual AppleJack Festival that celebrates local apple harvests with all-weekend festivities. Five Nebraska artists have been invited to examine the familiar, upset the applecart and present artworks that look beyond carefully laid plans. Often, best laid plans can go awry—which may often be the blossom leading to the the fruit of creativity.
The exhibit will be on view September 14 through October 30 with a special reception featuring performances and artists in the annual Apple Jack Parade beginning at 1 p.m. on Central Avenue in Nebraska City. Come early to reserve your spot for the parade. The gallery reception will follow the parade from 2 to 5 p.m. at the KHN Center.
Biographies of artists in the exhibit:
Launa Bacon lives and works in Lincoln, Nebraska. She creates artwork that explores the strange phenomena of entangled memories and the moulding of psychological individual behavior through the influence of various cultures, mass media and social structures. Her work is not bound to any particular medium, traditional display or expression but driven by content and intent. She received her Masters of Fine Arts from Goldsmiths College at the University of London and exhibits nationally and internationally. Bacon is the Board Chair of Darger HQ, an online initiative representing national and international artists. She is also Artists Services Manager for the Nebraska Arts Council. http://www.launabacon.com/
Charley Friedman is a Pollock-Krasner grant recipient, two-time Rema Hort nominee, and Smack Mellon “Hot Picks” artist. Friedman has exhibited and performed at numerous galleries and institutions including PS1/MoMA, The Queens Museum, Gallery Diet, The Fabric Workshop, Volta NYC, Pulse Miami, Barbara Mathes Gallery, Jack Tilton Gallery and Lehman College. Selected publications include: The New York Times, Wall Street Journal, The Miami Herald, Art Info, GQ Italia, Salon, Art Info, El Nuevo Herald, Flavorpill.com. Friedman is in the collections of The Brooklyn Museum, New York Public Library, Stanford University, Sheldon Museum of Art, Karen and Robert Duncan, Gordman Collection and Goldman Collection, to name a few. In the fall of 2014, his work appeared on Louis CK’s television show “Louie”. He received his Masters of Fine Arts from The School of the Museum of Fine Arts, Boston/Tufts University (96) in addition to The Skowhegan School of Painting and Sculpture (95).
Nancy Friedemann-Sánchez's large scale drawings alude to Minimalism and the Pattern and Decoration Movement but explicitly explore the experience of identity, memory and gender. Friedemann has been awarded a Smithsonian Artist Fellowship; a Pufffin Foundation grant; a Pollock Krasner grant; a National Association of Latino Arts and Culture grant. Recent individual exhibitions include: Neues Kunstforum, Cologne, Germany; Bernice Steinbaum Gallery, Miami; Collette Blanchard Gallery, New York; Frost Museum, Miami; Galeria Diners, Bogotá; Sheldon Museum, Lincoln, Nebraska; Queens Museum of Art, New York; Museo de Arte Contemporáneo, Panamá, and many more. Friedemann has been a member of the Artist Pension Trust, Mexico City since 2009. She has a masters degree from New York University; a BFA from Otis Art Institute and undergraduate studies from La Universidad de Los Andes, Bogotá, Colombia. Along with Charley Friedman, she founded: FIENDISH PLOTS an artist run exhibition space in Lincoln, Nebraska and Brooklyn, New York.http://www.nancyfriedemann.com/
Patricia Nelsen lives and works in Ayr, Nebraska and creates realistic paintings about food and desire. She returned to higher education as an adult to take visual art courses at Hastings College in Hastings, Nebraska and received her Bachelor’s degree in 2015. Nelsen’s work is included in the current 2015 Nebraska National Undergraduate Juried Art Exhibition at the University of Nebraska Lincoln Eisentrager-Howard Gallery. Outside of art, Pat enjoys spending time with her step-children and grandchildren, and farming with her husband Eldon south of Hastings, Nebraska.
Steve Snell grew up in the suburbs of Columbus, Ohio where he watched a ton of great television and often rode his bike to Taco Bell. He is known for his ‘adventure art’ projects where he uses exciting and remarkable experiences as the basis for art. He graduated from Miami University in 2006 with a B.F.A. in Painting and a B.S. in Art Education. In 2011, Steve received his M.F.A. in Studio Art from the University of Massachusetts Amherst, where he was a recipient of the Dean’s Dissertation Fellowship. He has been an Artist-in-Residence at Hub-Bub, the Wassaic Project, and the Kimmel Harding Nelson Center for the Arts. Steve is currently an Assistant Professor of Foundations at the Kansas City Art Institute and also spends weekends in Nebraska City working on his next adventure. His work has been shown in galleries and film festivals throughout the United States. www.steve-snell.com
For information on past exhibitions, contact us: