October First Friday

Our October show, Vestige: Navigating the Layers, will feature an installation by Emma Nishmura, a second-year MFA student in printmaking at the University of Nebraska – Lincoln. Emma was featured in a Lincoln Journal Star article this past March, which you can read by clicking here.

Emma’s show will be up at Parallax from October 7-31, 2011, with an opening reception on October 7th from 7-11 pm.

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August and September Shows

It was a busy summer of traveling, and as is always the case, the months flew by too quickly. We’re almost halfway through the fall semester at UNL, and getting ready for yet another opening this Friday.

In August, Parallax featured Takeaway, an exhibition of the work of Danny Sullivan, a senior BFA major in painting at UNL. Danny performed live at the opening, staging a 90-minute demonstration of his working process, which involves the use of power tools to strip away layers of paint, revealing a nuanced play of color and form.

September’s show was Women’s Work, organized by Lora Rocke. The exhibition featured work by Maranda Allbritten, Gerit Grimm, Julie McCullough, Erika Navarette, and Lora Rocke.

What does women’s work look like? Is it possible to assign a definition, subject matter, or formal appearance to artwork made by women? What are the problems that arise when one starts to apply parameters to “women’s work?” These are among the questions posed by the exhibit Women’s Work, which brings together an array of mediums and techniques in order to display the wide array of visual production by women artists. The artwork on exhibit showcases painting, printmaking, drawing, ceramics, cloth & thread, and found object sculptures in a wide variety of subjects, ranging from abstract and geometric to figural and representational. Showing such a range of work in the same space demonstrates the futility in attempting to define a singular notion of work created by women. Women’s work is instead presented as diverse and multi-faceted: Grimm subversively reimagines the Leda and the Swan myth; Navarette lushly renders open-ended narratives; Rocke defies medium specificity in translating photographs to sewn fabric; McCullough reconfigures discarded and archaic objects to give them new life; and Allbritten pulls viewers to the surface of the works through attenuated and nuanced forms.