— dedicated to promoting the growth and appreciation of the arts in the Omaha community.
Paolo Arao makes sewn paintings, weavings, and site-responsive installations that are rooted in geometric abstraction. This exhibition will showcase Arao’s work over the past 5 years including work he began while a resident at Bemis Center in the spring of 2020 as well as site-specific installations utilizing the architecture of Bemis Center’s galleries.
Neo-Custodians: Woven Narratives of Heritage, Cultural Memory, and Belonging focuses on the historical aspect of textiles as a vehicle for communication and representation. Linking this ancient form of expression to contemporary artworks inspired by this legacy, the thirteen artists in the exhibition engage intentionally with materials bearing complex histories.
Paolo Arao makes sewn paintings, weavings, and site-responsive installations that are rooted in geometric abstraction. This exhibition will showcase Arao’s work over the past 5 years including work he began while a resident at Bemis Center in the spring of 2020 as well as site-specific installations utilizing the architecture of Bemis Center’s galleries.
Holland Andrews is a vocalist, composer, and performance artist whose work focuses on the abstraction of operatic and extended-technique voice to build cathartic and dissonant soundscapes.
Yarn/Wire is a new music quartet dedicated to the promotion of creative, meaningful live musical experiences in the US and abroad.
With inspirations that orbit centuries from ancient Indigenous pottery to Moai statues to Land Art, Halfmoon interrogates the intersection of tradition, history, gender, and personal experience.
From wordplay with the actual letters that comprise “BLACK,” to utilizing the expanse of shades of black house paint—including as Nightfall, Soot, Ebony Field, and Black Beauty—to posing the question, “If the color black had a sound, what would it be?,” Benjamin calls attention to the color’s deep historical and social resonance.
With inspirations that orbit centuries from ancient Indigenous pottery to Moai statues to Land Art, Halfmoon interrogates the intersection of tradition, history, gender, and personal experience.
From wordplay with the actual letters that comprise “BLACK,” to utilizing the expanse of shades of black house paint—including as Nightfall, Soot, Ebony Field, and Black Beauty—to posing the question, “If the color black had a sound, what would it be?,” Benjamin calls attention to the color’s deep historical and social resonance.
With inspirations that orbit centuries from ancient Indigenous pottery to Moai statues to Land Art, Halfmoon interrogates the intersection of tradition, history, gender, and personal experience.
From wordplay with the actual letters that comprise “BLACK,” to utilizing the expanse of shades of black house paint—including as Nightfall, Soot, Ebony Field, and Black Beauty—to posing the question, “If the color black had a sound, what would it be?,” Benjamin calls attention to the color’s deep historical and social resonance.
With inspirations that orbit centuries from ancient Indigenous pottery to Moai statues to Land Art, Halfmoon interrogates the intersection of tradition, history, gender, and personal experience.
