Finding Horizons
Buscando Horizontes
Finding Horizons/Buscando Horizontes
Sheldon Statewide Exhibition 2024 – 20 25
A horizon line in a landscape composition provides the viewer with a sense of perspective—it tells you where you are in relation to other elements. Horizons show where the sky and the earth meet, and can also allude to an artist’s interests, priorities, and personal relationship with the land they depict. This exhibition showcases 15 artists’ unique approaches to landscape through their use of this line.
Artists such as Eugene Holgate Jr. worked in a tradition in which features on the horizon were mandatory aspects of landscape painting. Conversely, others, including Russell T. Gordon and Thelma Lorie Christenson, obscure the horizon in their work to explore the tension between realism and abstraction. Photographers Lucinda Devlin and Manuel Álvarez Bravo, working in black and white, demonstrate the grounding value of an apparent boundary.
Horizons grant insight into where one stands both physically and metaphorically. Within the visual language of landscapes, they can be entry points to understanding and appreciation. When you leave this exhibition, find the horizon and consider where you stand.
This exhibition was organized by Saraphina Masters, former assistant curator of engagement.
Support for Sheldon Statewide is provided by Farmers Mutual of Nebraska, Rhonda Seacrest, and Sheldon Art Association.
La línea de un horizonte en una composición de paisajes proporciona al espectador una sensación de perspectiva. Indica en dónde el espectador se encuentra con relación a otros elementos. Los horizontes muestran dónde se encuentran el cielo y la tierra. También pueden indicar los intereses, las prioridades y la relación personal de un artista con el paisaje que este decide representar. Esta exposición muestra los enfoques únicos de 15 artistas sobre el paisaje a través del uso de esta técnica.
Artistas como Eugene Holgate Jr. trabajan en una tradición en la que los elementos del horizonte eran aspectos obligatorios de la pintura de paisajes. Por el contrario, otros artistas como Russell T. Gordon y Thelma Lorie Christenson oscurecen el horizonte en su obra para explorar la tensión entre el realismo y lo abstracto. Los fotógrafos Lucinda Devlin y Manuel Álvarez Bravo, quienes trabajan en blanco y negro, demuestran el valor fundamental de las líneas divisorias.
Los horizontes proporcionan perspectivas sobre dónde nos encontramos tanto física como metafóricamente. Dentro del lenguaje visual de los paisajes, estos pueden ser puntos de entrada a la comprensión y la apreciación. Cuando usted salga de esta exposición, busque el horizonte y considere dónde se encuentra.
Esta exposición está organizada por Saraphina Masters, la ex curadora asistente de engagement.
El patrocinio para el museo Sheldon en todo el estado es provisto por Farmers Mutual of Nebraska, Rhonda Seacrest, y la Asociación de Arte Sheldon.
The University of Nebraska does not discriminate based upon any protected status. Please see go.unl.edu/nondiscrimination.
ANDERS ALDRIN
Värmland, Sweden 1889–Los Angeles, CA 1970
The Zabrisky [sic] Point Color woodcut, circa 1931–37
University of Nebraska–Lincoln
James E. M. and Helen Thomson Acquisition Trust U-3756.1985
HERBERT BAYER
Haag, Austria 1900–Montecito, CA 1985
Ice Cold Mountain Oil on canvas, 1944
University of Nebraska–Lincoln Gift of Dr. and Mrs. Harold Gifford U-4396.1991
MANUEL ÁLVAREZ BRAVO
Mexico City, Mexico 1902–Mexico City, Mexico 2002
Bicicletas en Domingo [Bicycles on Sunday] Gelatin silver print, 1968
University of Nebraska–Lincoln Gift of John Marvin U-3657.14.1983
PETER BROWN born Northampton, MA 1948
Wheat Field, South of Marsland, Nebraska Chromogenic color print, 1993
University of Nebraska–Lincoln
James E. M. and Helen Thomson Acquisition Trust U-4947.1998
THELMA LORIE CHRISTENSON Yankton, SD 1938–Kansas City, MO 1968
Landscape Oil on canvas, date unknown
Nebraska Art Association Gift of Lawrence Reger in memory of the artist N-228.1970
LUCINDA DEVLIN
born Ann Arbor, MI 1947
Lake Huron, 3-17-2011 1:49 pm, from Lake Pictures series Pigment print, 2011
Sheldon Art Association
Home Ground Collection: Gift of the artist in honor of Barry Lopez S-1227.2022
RUSSELL T. GORDON
Philadelphia, PA 1936–Montreal, Canada 2013
Skyscrape
Color etching and aquatint, 1974
University of Nebraska–Lincoln Gift of Dr. Frederick and Rebecca Nause U-1748.1974
EUGENE HOLGATE JR.
Navajo Mountain, UT 1938–Taos Pueblo, NM 2001
Antelope Herd Gouache on board, 1960
University of Nebraska–Lincoln Gift of Dr. and Mrs. Oscar Thoeny U-465.1965
KEITH JACOBSHAGEN born Wichita, KS 1941
Towards Bennet Color monotype, 1990
University of Nebraska–Lincoln Mercedes A. Augustine Acquisition Trust U-4263.1990
JOHN PFAHL
New York, NY 1939–Buffalo, NY 2020
Four Corners Power Plant (AM) Farmington, New Mexico Color print, 1982, printed 2011
University of Nebraska–Lincoln Anna R. and Frank M. Hall Charitable Trust H-3114.2011
LARRY STARK born Benton Harbor, MI 1940
Oh No! Not Another Worst Storm of the Century Photo screen print, 1982
Nebraska Art Association Collection N-624.1983
RICHARD STEINMETZ Lincoln, NE 1947–Gainesville, FL 2011
Florida Cloudscape I Photo silkscreen, 1976
Nebraska Art Association Gift of the artist N-360.1976
TAKESHI TAKAHARA born Japan 1943
Shoal
Intaglio, 2001
Published by Under Pressure Print Club, Lincoln, NE
University of Nebraska–Lincoln Gift of the artist and the Under Pressure Print Club U-5114.2002
JOHN URBAIN
Brussels, Belgium 1920–Milford, CT 2009
Red Moon Screen print, 1967
University of Nebraska–Lincoln Gift of Peat, Marwick, Mitchell & Co. U-3673.1985
LOOK / OBSERVA
Focus on the horizon line in an artwork and try to describe how the artist has depicted the place where the sky and the earth meet. Notice the perspective and orientation as well as the style and technique.
Concéntrese en la línea del horizonte en una obra de arte e intente describir cómo el artista ha representado el lugar donde se encuentran el cielo y la tierra. Preste atención a la perspectiva y la orientación, así como el estilo y la técnica.
THINK / PIENSA
Why do you think the artist portrayed the horizon line this way? What do you think the artist is trying to tell the viewer about the landscape they depict?
¿Por qué cree que el artista ha representado la línea del horizonte de esta manera? ¿Qué cree que el artista intenta comunicarle al espectador sobre el paisaje que ha representado?
DRAW / DIBUJA
Make a sketch of one of the artworks in the exhibition. As you draw, notice the details in the composition. What parts of the landscape do you think were most important to the artist?
Haga un dibujo de una de las obras de arte de la exposición. Mientras dibuja, preste atención a los detalles de la obra. ¿Qué partes del paisaje cree que son más importantes para el artista?
ASK / PREGUNTA
Which elements in the artwork look familiar to you? Which are unfamiliar? What do you understand or appreciate about the depicted landscape?
¿Qué elementos de la obra de arte son familiares para usted? ¿Cuáles no le parecen familiares? ¿Qué entiende o aprecia sobre el paisaje que se ha representado?
If you made your own artwork with a horizon line, how would it look and what would it tell the viewer?
Si hiciera su propia obra de arte con una línea de horizonte, ¿cómo sería y qué le diría al espectador?