“Dada” Group Exhibition
April 8 – June 30
We invite artists living and working in the Omaha area to participate in our themed shows. Artists submitted work inspired by the “Dada” art movement that began in the early twentieth century.
The “Dada” exhibition features the 7 Omaha area artists below.
Visit us during regular gallery hours to view the show in person, or to schedule a private visit via firstname.lastname@example.org
The central premise behind the Dada art movement (Dada is a colloquial French term for a hobby horse) was a response to the modern age. Reacting against the rise of capitalist culture, the war, and the concurrent degradation of art, artists in the early 1910s began to explore new art, or an “anti-art”, as described by Marcel Duchamp. They wanted to contemplate the definition of art, and to do so they experimented with the laws of chance and with the found object. Theirs was an art form underpinned by humor and clever turns, but at its very foundation, the Dadaists were asking a very serious question about the role of art in the modern age. This question became even more pertinent as the reach of Dada art spread – by 1915 its ideals had been adopted by artists in New York, Paris, and beyond – and as the world was plunged into the atrocities of World War I.
Bill Hoover’s art is a dynamic synthesis of both his interior and exterior worlds. Using oil paint, charcoal, graphite, and textures like sand, he builds up his paintings using shapes, colors both muted and bright, and texture till he arrives at a place that is fresh, unpredictable, and meditative.
His work is widely collected throughout the United States and is featured in many private collections.
I am re-discovering the magic of oil painting over the last year or so, since I left oils for acrylics around the year 2000. I work mostly now with oil and collage, sometimes enamel drips, with the collage including all mediums and all former scraps of previous paintings, and even some of my early kid drawings. My work can be described as a blend of surrealism, phantasmagoria, horror, as well as whimsy. I am forever trying to surprise myself, and collage has a way of radically changing a piece both visually and symbolically with each addition or subtraction, to which I respond with paint in an instinctive and improvisational manner. Each painting is an event, a dialogue happening, a relationship forming, and it will unfold before my eyes, and preserved at it’s zenith, for others to witness and hopefully enjoy as well. It is very important for me to honor that time honored approach to art of getting out of one’s way, and letting the painting paint itself. I truly believe that in surrendering one’s self (no matter what the practice) to the moment as it unfolds, one can experience what can only be described as “magical.” It is for this reason that I aspire to allow for imperfections, flaws, and sometimes jolting features, as a part of the raw, fresh, direct transmission of whatever the piece is trying to “communicate.” For each piece does indeed have it’s own kind of language, it’s own set of unspoken rules, and the more I can facilitate the birth of this new “creature,” and hear what it has to say, the better, even if it comes at the expense of seamlessness, flawlessness, or some other illusion of surface continuity. This is the nature of collage art, generally speaking, and that there are several layers of disjointed dimensions all playing together on a flat surface. I enjoy the push/pull relationship of color, texture, value, and mediums, and feel there are many layers all working together, often behind the scenes, so to speak.
I graduated with a Bachelor’s degree in Fine Art at William and Mary in 1993. My focus was in oil painting, which I continued to explore when I moved to 111 First Street in JerseyCity, New Jersey the summer of ’93. “One Eleven,” as it was affectionately called, was home to maybe up to a hundred artists all living and working in their studios and exhibiting in various gallery spaces both within the building as well as the art community of Jersey City. After living in New Jersey and apprenticing for a time with the artist Bill Barrell (of the NYC Rhino Horn group from the 1970’s), I got a job at Christie’s Auction house in New York City where I was handling a lot of contemporary art, as well as pop cultural props, and hanging a lot of art shows. I was continuing to paint on my own at the time, taking a few more classes at the New York Studio School (got to take a class taught by Robert Beauchamp before he died!) and during that time my father opened up a gallery in Omaha, Nebraska called Lakin Jones Gallery. Since my father was having some success selling artwork from local Omaha artists as well as some of the members of the aforementioned Rhino Horn group, he then began selling my work as well, and it wasn’t very long before he convinced me to move to Omaha in ’97 where I’ve been living on and off ever since. His gallery no longer exists, but I have continued to show work in other local galleries. I also have a studio and gallery space where I am in partnership with Trudy Swanson at the Benson Art Gallery in Omaha, NE, and I am also currently represented by a gallery in the Netherlands, 10dence, which is in collaboration with a group of international collage artists that I am a member of, called GAP(Global Art Project.)
Doug Kabourek is a creative Renaissance Man- composing original songs for his ongoing music project, Fizzle Like A Flood- recording and editing his own podcast under the same moniker- erecting a semi-permanent haunted house in his unfinished basement- and creating various art pieces from his personal inspirations.
Trillotaur comes from the depths of Doug’s home haunt, “Sunday Bloody Sunday”- a haunted house inspired by the pop culture and world events of the 1980s.
My name is Chloe Kelly. Through my art I hope to accomplish something that is attainable and approachable for all people. I want the viewer to see their own story in my art, maybe a little bit of humor, and feel a sense of “safe” while looking at my art. Who knows, maybe the paintings I make will even help people to think a little outside of “their box”. I am in the process of making a big career leap and leaving the world of Art Education in the public schools behind. I will be teaching small group art lessons out of my home with my business Flower Child Art Studio. Through this process I am pursuing making more of my own art, and getting back to the core of my walk with art.
ARTIST STATEMENT – Mama
In my piece titled “Mama” I take a stab at the humor behind the movement of “dada-ism”, obviously understanding that the movement is not titled “dada” because of the father figure. The focal point of the art is the ever popular “Venus”. A symbol of femininity, but with a twist. Her hair is more modern and purple, her ‘skin’ completely empty of paint allowing the wood surface to come through, the cloth blue, and her breasts covered by milk cartons. After becoming a mother, it all becomes about the baby. Leaving many moms feeling isolated, and transparent. Thus the reasoning behind Venus being empty of paint. I am about to welcome my third child Earth side, as I like to say, and can’t help but think about the obsession of milk production that will soon overcome my world. The colors are vibrant, and also crayon box simple, representing the “snap back” expectations our culture puts on new moms. The peri bottle to the right of Venus representing the immense trauma that birth can cause. But painted in a pretty pink, although nothing about the experience of using such a medical necessity is ‘pretty’. In the bottom left corner “SHHH..” is written. There is a stigma behind sharing the reality behind motherhood and giving birth. Talking about the nitty gritty behind child-bearing can be taboo, yet we all got here somehow. But like the atticus quote says “When it comes to art, it’s important not to hide the madness”. Thus the reasoning behind the words on the peri bottle, “Don’t hide the madness.” I wish more women would feel comfortable, safe, and worthy, to not only FEEL the madness but SHARE the madness without hiding. I found my inspiration in this piece with a mix of Dada and the pop artist Peter Max.
ARTIST STATEMENT – Well?
My piece “Well?” is another attempt and entry for the “Dada” show. It’s been a YEAR a whole YEAR since my world as an art teacher turned completely upside down, and the rest of the world too. I can either step back and look at this last year with fear and sorrow, or with a little humor while saying, “WELL, SHIT”. I choose the latter. I hope when people view “well?” that they too see some humor and maybe even giggle a bit. Collectively as a world, we are healing. This is my way of getting there.
Hi, I’m Nathaniel Ruleaux. I’m an artist currently located on unceded land of the
Umónhon & Oceti Sakowin in Nebraska.I like to paint and draw with whatever materials I have on hand. Those usually include inks, acrylics,pastels, watercolors and spray paint on watercolor paper and canvas. I also enjoy carving wood and lino blocks to create original prints in my home studio.My work is an expression of my combined anger at our nation, a love of the people and the land, and dreams of what kind of world I want my child to grow up in. I’m a member of the Oglala Lakota Nation. I often use bison as a symbol of the Lakota spirit, the power of our endangered natural world, and a righteous, powerful force for what America should be. I regularly combine other traditional Native images, like the ones used by my grandfather Donald D. Ruleaux, with images of current issues facing indigenous peoples and the world today. In addition to creating visual art, I’m also a classically trained actor. I received my MFA in Theatre from the University of Houston’s School of Theatre and Dance after I finished my BA in Theatre Performance at the Johnny Carson School of Theatre & Film at the University of Nebraska–Lincoln.
Nathaniel Ruleaux is an artist currently located on unceded land of the Umónhon & Oceti Sakowin in Nebraska. A member of the Oglala Lakota Nation, his work combines modern art with traditional indigenous imagery. He is a Culture Work Fellow for Arstock in Omaha, and recently created artwork for the national Natives Vote 2020 campaign. In addition to creating visual art, he is a classically trained actor and educator. He received his MFA in Theatre from the University of Houston’s School of Theatre and Dance after receiving a BA in Theatre Performance at the Johnny Carson School of Theatre & Film at the University of Nebraska–Lincoln.
Trilety Wade works in watercolor, digital photography, and the written word. Portraits and moody landscapes are the subject matter she is most drawn to in her photography, while the body and subtle fantasy is the subject matter that most often emerges in her watercolors. The camera and the brush serve as her poetic pen when she encounters writer’s block.