“Meet Your Match,” an exhibition of selected artworks from Sheldon Museum of Art at the University of Nebraska, opens in the Main Gallery in Memorial Hall at Chadron State College on September 1.
The exhibition is part of Sheldon Statewide, an annual program through which works from the museum’s collection travel to venues throughout Nebraska. Since its inception in 1987, the program has taken exhibitions to 24 communities, reaching more than 290,000 people.
“Meet Your Match,” the 2017–18 Sheldon Statewide exhibition, explores the conversations and ideas that emerge when two diverse works of art are juxtaposed.
The exhibition features works in diverse media by artists including Ansel Adams, Robert Arneson, John James Audubon, Kenneth Southworth Davies, Elliott Erwitt, Elisabeth Frink, Dana Fritz, Dwight Kirsch, Edward Liggett, William Nicholson, Gordon Parks, Jane Peterson, Robert Rauschenberg, Enrico Sarsini, John Talleur, Andy Warhol, and William Wegman.
The Chadron State College Galaxy Series sponsors the Chadron exhibition, which is on view at the Main Gallery in Memorial Hall through October 1.
The Sheldon Statewide exhibition series receives funding support from Farmers Mutual Insurance Company of Nebraska, Rhonda Seacrest, the Nebraska Arts Council and Nebraska Cultural Endowment, and the Sheldon Art Association.
“Growth Patterns (Remix)”
Growth Patterns, etching, digital, mounted on wood, 7ft x 34ft, 2010-11 This large print installation, inspired by growth and invasion includes over 1,000 individual pieces. This work would of not have been possible without the help of Sophie Brenneman who spent countless hours helping cut out these highly detailed shapes.
Marilee Salvator received her BFA from Illinois State University, Normal, IL in 2000 and her MFA degree from University of New Mexico, Albuquerque, NM in 2004. She has taught printmaking and design at University of New Mexico, Albuquerque, NM, University of Manitoba, Winnipeg, MB, Bloomsburg University, Bloomsburg, PA and Metropolitan State University of Denver, Denver, CO. She has recently moved to Bowling Green, KY where she is an Assistant Professor, teaching printmaking and design at Western Kentucky University.
Marilee Salvator’s work has been exhibited in over 100 solo and group exhibitions throughout North America, South Korea, China, Portugal, Serbia, Ireland, Scotland, Poland, New Zealand, Italy and Romania.
She has served as a visiting artist at Atelier Silex, Trois- Rivieres, Quebec, University of New Mexico, University of Nevada at Reno, California State University at Long Beach and Manitoba Printmakers Association. Her work is included in over twenty-five public collections including JCI University, Jiangxi China, and Sakimi Art Museum, Okinawa Prefecture, Japan.
I create sculptures and site-specific installations by resurrecting and transforming detritus that I find in my natural surroundings.
Often my inspiration begins during a walk when, by chance, I come across discarded, broken, or decaying material. A plastic top, a piece of string, a fallen tree limb, or a washed up boat—all hold aesthetic promise, as I imagine transforming the material into something new. My work mirrors the human experience, so full of transformation, second chances, reinvention, and resilience.
Laura cherishes the fact that nature is larger than we are. In all of the artist’s recent sculpture, a dialogue exists between environmental and individual concerns, a conversation whose central metaphor might emerge from the found and repurposed materials. Deeply committed to social impact, inseparable from the narratives which survivors share, Laura loves patterns and order, yet believes that so much is randomly chaotic. Hers is both a collective and individual experience of art. She sees patterns because she chooses to see them, so as to make sense of this life. History and innovation underlie her works, like fields edged by rivers, sky.
When describing the process of arranging wood from Hurricane Sandy into smaller pieces, then rearranging the parts into a larger quilt design, Laura affirms both local and universal themes. Her own story unfolds at the intersection of preservation and exploration. Sharing that story, the artist believes, makes us vulnerable, fully human, connected and whole.
Special Effects from Space
Each Space Shuttle flight returns with photographs taken of the Earth’s surface. These photographs provide a unique view of the changing surface of the Earth, including landforms, weather patterns, and other surface disturbances.
A collection of 24 framed photographs with captions providing various views of the ever changing surface of the Earth.
The NASA Johnson Space Center operates an active traveling exhibits program whereby exhibits, displays, spacecraft models, spacesuits and various space artifacts are made available for use on a first-come, first-served basis for short (1-29 days) and long-term (30-90 days) loans. In most instances proof of insurance is necessary to borrow these items.
The Johnson Space Center primarily serves the NASA Region Four states of Colorado, Kansas, Nebraska, New Mexico, North Dakota, Oklahoma, South Dakota and Texas. Other states and countries may be served when other NASA centers are unable to satisfy requester needs.
As a free service of NASA and the United States government, items cannot be loaned to organizations charging for entry into an exhibition primarily to view these exhibits. NASA's exhibits are loaned for educational displays that are open to the public. NASA's exhibits can not be loaned to individuals.
For more than 50 years, NASA’s Lyndon B. Johnson Space Center (JSC) in Houston has led our nation and the world on a continuing adventure of human exploration, discovery and achievement. The center has played a vital role in powering our country into the 21st century through technological innovations and scientific discoveries.
As time passes distance forms and that something becomes harder to reach, blurry, less physical; I am interested in visually translating this distance. My art utilizes print media to bring into view the passage of time and its consequential sensations of loss and absence. While investigating the physical and psychological experiences of absence, loss, and uncertainty I consider the body, space, and place. By visually translating the abstract marks of passing moments seen in the landscape or of a body’s gestures I am able to make connections to the phenomena of time.
Because I associate the passage of time with distance and absence I employ a muted palette, and an elegant, minimal aesthetic. Print media possesses the ability to physically represent time through the multiple, labor, and delayed satisfaction; for these reasons I choose to spotlight it in my artistic practice. The work is two and three-dimensional; functioning best when dictated by the space in which it exists. By overtly aestheticizing compositions I demonstrate a desire for order, logic, and control over the uncontrollable. The uncontrollable is synonymous with the themes present in the work: time and its value, and loss and its inevitability.
Tressa Jones, artist and printmaker, was born and raised in Massachusetts. After studying fine art and printmaking, in Boston and then in New Mexico she relocated to Missoula, Montana to pursue a MFA in Studio Art at the University of Montana, which she completed in 2016. Tressa has held the positions of Co-Director of the FrontierSpace Alternative Art Space in Missoula, MT and Instructor at the Missoula Art Museum. Jones's work has been shown nationally and internationally. She currently resides in Lawrence, KS where she is the Lawrence Arts Center's 2016/17 Printmaking Artist-in-Residence.
Written, oral, and graphic narratives influence my works; however, my drawings intentionally negate a clear progression of storyline by reducing the visual information to a small section or single moment of the narrative. The presentation of a single-scene disrupts the chronology of a story, but it also allows us to examine the importance of a specific point in time. Although I do not present known stories, I do borrow heavily from the body of existing narratives. Historical narratives have been used to explain where we come from, how to behave while we are here, and where we are going – usually in an engaging and approachable manner that blends truth and fiction. Animal protagonists, the theme of exile, and fantastical interactions are reoccurring themes that I have borrowed as a means to link the narrative teachings of the past to the questions that persist.
The depicted “events” are reduced to a minimum amount of subject matter in an isolated composition. The drawings are intentionally spare, often consisting of one or two objects rendered in ink wash with large amounts of white space remaining. The location or setting is unassuming, creating a focus on the event and characters. The openness causes one to become acutely aware space, and the things that are present take on greater significance because of the isolation. Through this strategy the absence of a specific environment creates a new place. The isolation and emptiness create a location that becomes tangible through the actions of the things that inhabit the space.
Jennifer Nelson was born in Mt. Ayr, Iowa. She graduated from Minnesota State University, Mankato with a BS degree in Biology, and later an MA degree in Painting. Nelson graduated from the University of North Dakota with an MFA in painting and drawing in 2002. Her work has been included in solo and group exhibitions throughout the country. Nelson was an Artist-in-Residence at the Jentel Artist’s Residency in Banner, Wyoming in 2003. Her works are included in numerous private collections and the collections of Lock Haven University in Pennsylvania, McNeese State University in Louisiana, and the University of Wisconsin-Baraboo. Nelson currently lives in Grand Forks, ND where she maintains a studio.