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 EXHIBITION INFORMATIONRick Beck: GlassSeptember 15, 2007 – January 6, 2008 More than anything, Beck’s glass sculptures are approachable. As the Pop artists such as Claes Oldenburg, Andy Warhol, and Jasper Johns took the everyday items of the masses and glorified them in paintings, sculptures, or drawings, the work of Rick Beck also raises up the familiar but in a quieter, possibly more hallowed, respectful way. Maybe it is the material Beck chooses to work with which holds an innate sense of beauty – it is undeniable that glass and its ability to refract and hold light can mesmerize – or maybe it is the subtle, yet intense colors or non-color chosen, or the way that some of his works stand as almost totems jutting out from the ground, but the work bears a presence that, while easily recognizable, is also almost reverent to these easily accessible objects. Such is the case with Beck’s sculpture The Three Graces that consists of a knife, fork, and spoon – all separate and standing at over six feet tall. The works are placed together, almost as a silent little army holding their ground, items to be regarded. Semi-opaque, a frosted-whitish color, comprised of glass and standing tall, how could you not regard them? And that is where humor steps in, but not a cynicism of the mundane. As James Yood states in the catalogue for Rick Beck’s solo exhibition at the Mark Saunder’s Gallery in 2001, “size indeed does matter.” There is a ridiculousness in the fact that a fork is six feet tall and, when thinking of the time it would take for glass to be cast and annealed in such a size and manner, there is something a little crazy about the work. But ridiculousness and craziness are mixed in with the artist’s knowledge of the glass medium as well as the history of art. It is this combination that is alluring about the work of Beck – the regard, the beauty, the funny, and his knowledge and awareness that make the work appealing and has the ability to speak to anyone. Rick Beck is a graduate of Hastings College in Hastings, Nebraska where he received a Bachelor of Arts degree in 1982. In 1989, he received a Master of Fine Art from Southern Illinois University at Carbondale, Illinois. His work has been in well over 80 exhibitions including venues such as the Kentucky Museum of Art and Design, Louisville; Heller Gallery, New York, New York; his recent traveling solo exhibition Rick Beck Sculpture at Green Hill Center for North Carolina Art, Greensboro; Montgomery Museum of Fine Arts, Alabama; and Glasmuseet, Ebeltoft, Denmark.
This exhibition is presented with the support of Margaret and Charles Hermes.
Image: Rick Beck
Nebraska’s Glass ArtistsAugust 21 – December 30, 2007 In the mid-20th century, a shift occurred toward the craft-oriented media (fiber, glass, ceramics, wood) that began to experience art movements in and of themselves. The beginning of this change with glass can be traced to the first glass workshops conducted in 1962 by Harvey Littleton (known as the founder of what would be called the Studio Glass Movement) and Dominick Labino that took place at the Toldeo Museum of Art. The Littleton/Labino workshops allowed artists to step out of craft-oriented studios and away from mass-produced forms to a more readily available, tangible use of the medium. It was from these roots that those represented in Nebraska’s Glass Artists have grown. Therman Statom was among the first students to benefit from the Pilchuck Glass School, co-founded by glass superstar Dale Chihuly, as well as the Rhode Island School of Design – two glass programs established several years after the Littleton/Labino workshops. Statom, now residing in Omaha full-time, is regarded as one of the most important glass artists working today. His unconventional methods utilize both blown glass within and atop constructs of painted glass and mirrors. Others in this exhibition are third and fourth generation artists of this Movement. Hastings College Professor of Art Tom Kreager studied under Statom at Pilchuck in 1984 and his work reflects that time period with its atypical approach. In turn, budding glassblower Mark Jellen was a student of Kreager’s at Hastings College as were husband and wife glassblowers Amy and Ted Dohmen. While many of these artists can claim direct lineage from the Studio Glass Movement, John Nygren, with his beautifully formed and laden vessels that reference and find inspiration in nature, began his journey with glass independently. Nygren was blowing and finding methods within the glass medium during the same time period that Littleton and Lambino were holding their workshops in Toldeo, although unaware of their efforts. Also included are the much-loved and well-regarded vessels of Kenny Walton. His blown glass works are greatly sought after because of their sheer beauty, concentration on surface decoration, and great textures, colors, and “vibes” inspired by science and nature. Ray Schultz shares his traditional and most recent blown vessels created by hands that carry years of experience. Although retired from teaching sculpture and glassblowing at the University of Nebraska Kearney, Schultz still practices his craft.
Japanese-born Erika Tada studied at the University of Nebraska Kearney in 2002-2003. Since that time, she has received a Master of Fine Arts degree in Sculpture and Glass from the Rochester Institute of Technology and is producing cast-glass and pâte de verré sculptures of rabbits, stones, and twigs. Lastly, the blown forms of Valerie and Rick Beck are examples of the glass process. Valerie designs and chooses the palette for the works, while husband Rick creates the pieces. The resulting objects delight with color, have traditional yet organic form, and are whimsical in nature. Nebraska’s Glass Artists is an opportunity to see a wide range of artworks from a group of glass artists at different points in their careers that may both challenge and delight. Nebraska Now: Tom Towater, CeramicsOctober 13, 2007 – January 6, 2008
Odd and compelling aptly describe the small-scale ceramic objects created by Lincoln artist Tom Towater. With the use of subdued or neutral glazes coupled with varying textures on organic forms, the body of work created by Towater provokes curiosity and imagination. This exhibition combines preparatory drawings alongside the ceramic objects to emphasize the artist’s approach to his work. From clay to final fired form, Towater works methodically yet allows the medium to sometimes “form itself.” This calculated and fluid process results in highly tactile, delicate objects that are balanced, beautiful, inviting, and sometimes disturbing works of art. Resembling body parts, alien life, underwater organisms, or ancient artifacts, each ceramic piece alludes to a life-form or something that was once living. To further emphasize this, an engaging organic palette is used throughout the group of works that ranges from “bone” white to a softened “blood” red or “earthen” brown, among others. Textures vary from smooth as silk interiors to pebbly exteriors or posteriors of objects. Created by the pinch-pot method, the forms are remarkable in their delicacy yet stability. In some way, the pieces can be thought of as “vessels” of sorts as each one contains an opening or two, sometimes small or other times very small. These openings are quite significant for two reasons – they again allude to these objects as life-forms (the openings are strangely reminiscent of some type of orifice), and the technical aspect of accomplishing such a finished yet graceful hole in the size and manner created is noteworthy. As his primary interest is form itself, Towater delights in “bringing unique objects into being.” With this, his first solo exhibition in Nebraska, he brings some of his latest work to MONA – pieces that may both compel and repel viewers but are sure to fascinate. Tom Towater was born and raised in Scottsbluff, Nebraska. He attended the University of Nebraska-Lincoln where he received a Bachelor of Fine Arts degree in 1994. In 1998, he earned his Master of Fine Arts from Pennsylvania State University, State College. He has been involved in numerous exhibitions including Nature/Culture and Natural Selection in 2004 and 2006 at Santa Fe Clay, New Mexico; Seven McKnight Artists, Northern Clay Center, Minneapolis, Minnesota; SOFA – New York, Sherry Leedy Contemporary Art Gallery; Reciprocal Delicacies, Contemporary Crafts Gallery, Portland, Oregon; and American Ceramics: 55th Juried Exhibition, Sioux City Art Center, Iowa. His work is included in the collections of Sheldon Memorial Art Gallery, Lincoln, Nebraska; Contemporary Crafts Gallery, Portland, Oregon; and in numerous private collections. The artist works and resides in Lincoln. Journey Through Time: Art Tells the History of Nebraska IIAugust 28, 2007 – August 10, 2008 The first half of the 19th century brought about a period of great change for the Central Plains region. This was a time when the area we now know as Nebraska had been inhabited solely by Native Americans. In the early 1800s, explorers, fur trappers, mountain men, and soldiers were the first Europeans to learn the lay of this foreign land, identifying routes for the eventual migration of thousands seeking their fortune in the west. Later, a whole new population came to settle in Nebraska with the advent of the Homestead Act in 1862 and statehood in 1867. These new settlers arrived with the promise of free land and dreams of success and prosperity. In Part II of Journey Through Time: Art Tells the History of Nebraska, the focus is who we are as Nebraskans (past and present), what we do that makes our culture unique, and where we live and the communities that define us. Who we are can first be seen in the faces of the Native Americans as depicted by artists George Catlin and Marion Canfield Smith. The first “white men” to explore this region are featured in these three-dimensional artworks: Mountain Man by Frederic Remington and Lewis and Clark, Finding a Way by Tom Palmerton. In the homesteading period, Elizabeth Dolan’s painting of a woman, child, and dog capture a distinct spirit of determination that was necessary for survival in an untamed land. Ernest Ochsner’s contemporary portrait, Ed and Jane Dadey, is a playful look at a couple taking a break from a hard day’s work. As the population of early Nebraska grew, communities appeared. What we do is shown in places where people worked together, played together, and celebrated together and truly began to define the culture of this state. Picnic in the Park, 1944 by Terrence Duren and Farmer’s Market, 40th and Leavenworth by Donald Ruf depict gatherings in communities that celebrate hard work and success. Where we live is represented by pieces showing early life in Nebraska including Aaron Pyle’s Indian Encampment. Solomon Butcher’s photograph of a sod house and family and his contemporary counterpart, David Routon, each portray the essence of life in a prairie “soddy.” Life in small town Nebraska is seen in Myron Heise’s Main Street, Bancroft, Nebraska and Elaine Mills’s watercolor of Kearney’s Central Avenue.
Roger Nyffeler, educator and school principal, and Gary Zaruba, 19th century art specialist, collaborate once again with Jill Wicht, MONA’s Director of Education, to take viewers on a “journey through time,” focusing on the history of Nebraska by exploring who we are, what we do, and where we live with more selections from MONA’s permanent collection. InterpretationsSeptember 11, 2007 – March 2, 2008 Four artworks from MONA’s collection serve as the basis for short interpretations prepared by various guest writers. Ranging from scholars to children, these brief comments, placed next to each artwork, examine how each piece can be understood from different perspectives. What a child sees in a painting may be very different from what an art historian or an artist sees – and this exhibition celebrates the differences. Each work has five written comments next to it – one by the staff member who selected it, who in turn invited four others to write a short statement about the same work (an art historian, an artist, a lay person, and a child). A comment book is placed by each artwork, so that the viewing public may add remarks as well. We expect various thoughts about the same artwork, demonstrating that there is not one “right” answer or viewpoint in considering an artwork. Each viewer’s “interpretation” is valid since we all bring separate, unique experiences and perspectives to looking at a piece of art. On view in the Postmaster Gallery, the four works are:
Interpretations is also featured on MONA’s website: Sleds and SleighsNovember 1, 2007 – January 6, 2008 The poetess Dame Edith Sitwell once said, “Winter is the time for comfort – it is the time for home.” For many of us, the sentiment of “home” is most clearly reflected in the endearing memories that we have of the careless joys of our youth. For some, there are no fonder memories than those of Midwestern snows. Sleds and Sleighs celebrates the grand theme of winter fun by bringing together artwork featuring all manners of cold weather diversions. Sleds, sleighs, skates, snowballs, and snow angels bring cheer to this seasonal exhibition featuring works by Terence Duren, John Falter, Aaron Pyle, and Grant Reynard. At the center of the exhibition is MONA’s own original cover illustration for The Saturday Evening Post. The Winter 1979 cover is the last by John Falter – his 128th for the magazine. Within the illustration, one can find a number of activities to be enjoyed on a mid-week snow day. Nestled in the deep panoramic scene, children happily set forth in a winter wonderland with skates and the hint of a sled. A frozen lake is laden with skaters and hockey players, and a single horse and rider blaze a snowy trail. A horse-drawn hayride provides marked contrast to the weary snowplow struggling querulously to clear the way…perhaps for a school bus. Nonetheless, the day is meant for fun. Tomorrow is but a cloud on the horizon. Travel “home” this season by visiting Sled and Sleighs at MONA. We’re waiting for you! 
Image: John Falter, Continuing ExhibitionMONA’s Audubons Solomon Butcher Photographs From August 21, 2007 through March 9, 2008, Solomon Butcher Photographs features the second rotation of selected images that pays tribute to Nebraska’s rich history. Complementing the Butcher images are photography equipment and glass plate negatives similar to that used in the late 1800s and early 1900s, on loan from Pioneer Village in Minden, Nebraska. Through the wonder of modern technology, an electronic guide shows how digitizing the Butcher collection reveals lost history discovered in the photographs. PROGRAMMING"Mayhem to Marvels" at MONAMONA once again offers “Mayhem to Marvels,” this fall, an art course specifically designed for the pre-Kindergarten child. Certified art teacher Susan Hart guides children through activities as they explore the magical world of art by creating their own masterpieces. For children, ages 4-6. Nature Paintings Leaf Printing Snow Art Cost per Class: $10 MONA Members, $15 non-members Third Thursdays at MONALast September, MONA began a new program, Third Thursdays at MONA, an art sampler featuring artists and performers from central Nebraska. From 7:00 to 8:00 p.m. every third Thursday from September through April, individuals gather at MONA to hear short presentations in music, poetry, or perhaps a short scene from an upcoming theatre offering or a dance demonstration, as well as a discussion of a MONA artwork. All the galleries are open and everyone is invited to enjoy light refreshments, visit with each other, and view the current exhibitions in a convivial and relaxing setting. The second season promises to be as successful as our first. The 2007-2008 dates are: Kaleidoscope BenefitHave you thought about your Christmas shopping? Preparations for Kaleidoscope, Benefit Gift Boutique are well underway for the weekend of November 3 (11:00 a.m.-5:00 p.m.) and 4 (1:00-5:00 p.m.). The MONA Shop hosts nearly 30 artists selling their latest creations throughout the Museum. The Shop is also fully stocked for the holidays with high quality, unique gifts at reasonable prices. A wonderful variety of items such as jewelry, purses, blown glass, photographs, paintings, ceramics, wood and metal pieces are available. Several artists are new to Kaleidoscope with other favorites returning. Cookies and cider will be served to customers with free parking and admission for all. Kaleidoscope has been a project of the MONA Guild for more than 15 years. It is the primary fundraiser for the MONA Shop with proceeds supporting the security function at MONA. Holiday HappeningsJoin us for an evening of holiday fun, food, and festivities, Monday, December 3, featuring a musical performance by Thalken, Tesdall and Thalken. 6:00 p.m. – Social Hour Partial list of auction items includes: • Photograph by John Allen Tickets: $20 Adults – $10 Children 12 & under, available in the MONA Shop. Play-A-Thon benefit for MONAOn the last weekend in October, the Nebraska Music Teachers Association (NMTA) begins a weekend-long Play-A-Thon as a benefit for MONA. The event takes place in the courtyard of the Hilltop Mall in Kearney, Nebraska. Teachers and students of NMTA will provide five to ten minute performances featuring a wide range of styles from classical to jazz, rock, and pop. While the musicians are playing, those listening will have the opportunity to donate funds to MONA in the name of the individual who is playing. The top fund-raisers will receive prizes and medals. The Nebraska Music Teachers Association is an organization of over 300 musicians dedicated to a practical role of artistic service in today's society. NMTA provides cultural leadership through a wide variety of activities for teachers, students, and professional musicians. It promotes high professional standards in music and fulfills its responsibility to artistic and educational leadership in the state. NMTA was founded in 1916, and is affiliated with Music Teachers National Association (MTNA), which has a membership of over 24,000 musicians nationwide. 10:00 a.m.-5:00 p.m. ARTREACH PAGEARTreach: MONA Across Nebraska Grand Island Public Library Calvin T. Ryan Library, University of Nebraska Kearney Grand Island Public Library Falls City Public Library and Arts Center |
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His work is included in the collections of the Mint Museums of Art and Craft + Design, Charlotte, North Carolina; North Carolina State University, Raleigh; and Wustum Museum of Fine Art, Racine, Wisconsin; among others. 
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