14 DISH Dishing the Dirt: After a Sterile Year, The Reader was Ready to Get Dirty

April 1 Fetish

Garden of the Zodiac

Larry Buller, whose show Fetish opens April 1 at the Garden of the Zodiac, is not interested in subtlety. Why else would he trick out his molded ceramic forms into highly embellished decorative set pieces using floral decals, gold luster, fur and fake gemstones while flirting with kitsch? Gilding the lily is, in fact, the point. In the age of Rococo, when chinoiseries flourished, emphasis was on abundant and elaborate decoration, equating to the life pleasurable.

Buller has stepped into this breach, exploiting decorative arts’ historical and domestic connotations by encoding them further with the cultural vocabulary of gay identity, masculinity and sexual fetish objects. Celebrating sexuality with alluring objects of desire, Buller both delights the viewer and furthers his goal to “demystify sex between men and encourage dialogue around topics typically not discussed in ‘polite’ society.”

Larry Buller: Fetish runs through May 23 in the Garden of the Zodiac Gallery, 1042 Howard St. There will be no opening reception. Call 402-341-1877, email gardenofthezodiac@gmail.com or visit the gallery’s Facebook page.

—Janet L. Farber

April 2 Glue Factory

Petshop

Collage artist Glue Pinella will debut in Omaha with an exhibition at Petshop, opening on First Friday, April 2. Entitled Occurrences and Emptiness, it features new work in which retro magazine images are combined to create familiar yet surreal narratives.

An admirer of the 1950s illustration, Pinella cuts out varied images of people, consumer goods, food and plants, reimagining them into fun and curious compositions. In “Cutting Edge Hairstyle,” a woman’s coiffure is replaced by a bouffant of table saws. In “Good Morning Afternoon,” a cigarette-smoking woman arises from the center of a fruit and floral centerpiece like something out of an Esther Williams movie.

All collage elements are pasted against the blank background of paper, an empty space the artist describes as consonant with his feeling about his own life as “a series of bizarre occurrences spontaneously arising out of emptiness then returning to that emptiness.” Nonetheless, his choice of source material and their recombination result in an alluring and whimsical view of the past, perhaps as prologue.

Glue Pinella: Occurrences and Emptiness continues through Friday, May 28, at Petshop, 2725 N. 62nd St. Check the gallery’s Facebook page or email alex@ bff.org for more information. —Janet L. Farber

April 16 & 17 PetRock

Slowdown

As PetRock asks on its website: “Are you ready to soft rock?” If you are indeed ready to hear PetRock’s smooth 70s rock, Slowdown has the show for you. The popular 70s tribute band will be performing two consecutive nights, Friday, April 16, and Saturday, April 17. PetRock has a lineup of crowd favorites from classic 70s bands like the Eagles, Styx, Doobie Brothers and Wings. Whether you’re looking for a night of nostalgia or an opportunity to “soft rock” to some classic tunes, these shows are sure to be a good time for all.

Doors open both nights at 7 p.m., and the show will start at 8:30 p.m. Tickets start at $15 for general admission and go up to $45 for reserved and balcony seating. To see more details and Slowdown’s COVID-19 safety protocols, visit their Facebook page.

—Alex Preston

April 17 Earth Day

Elmwood Park

Omahans can celebrate a scaled-down Earth Day event in person this year. Held at the historic Elmwood Park on Pacific Street, the 32nd annual Earth Day Omaha will be free, open to the public and socially distanced. For more information, including a full event schedule, check out earthdayomaha.org.

In collaboration with Sarpy County Earth Day, Earth Day Omaha is also hosting a monthlong, virtual expo: the Nebraska Earth Day Passport. From April 15 through May 15, up to 10,000 participants (called “players”) can download the Nebraska Earth Day Passport app and check out virtual exhibitor “booths.” At each booth, players compete for daily points

and prizes in challenges, which range from engaging with exhibitors on social media to captioning photos related to environmentalism.

Readers can learn more about the challenge, which is free to the public, by visiting earthdayomaha.org and Earth Day Omaha’s FaceBook page.

—Leah Cates

April 17 Tom Papa

The Waiting Room

There are a variety of ways in which you may have become familiar with comedian Tom Papa. He’s acted in multiple films, appeared on all of the late night shows, and, most notably, performed standup comedy for more than 20 years. Papa is popular for his observational style of humor that focuses on the day-to-day difficulties of being human. He is currently touring to promote his 2020 memoir and Netflix special, both titled You’re Doing Great! These works remind the audience that life is hard, and we’re all just doing the best we can. On April 17, Papa is performing back-to-back shows at the Waiting Room Lounge at 7 p.m. and 9:30. Doors open an hour before showtime, and tickets start at $27.50. After the difficult year that was 2020, we could all use a good laugh, so reserve your tickets today and get ready for a good time. —Alex Preston

May 1-June 13 Cinco de Mayo

Various

The organizers behind Cinco de Mayo Omaha are celebrating 100 years in Omaha with a funfilled schedule of events. Saturday May 1, Victory Boxing Club will showcase 15 action-packed Junior Olympic Boxing matches and other local amateur fights. Tickets are $10 for adults, $5 for kids (under 5 are free). A virtual Latino Expo! takes place May 5 from 8 a.m. to 12:30 p.m. Fifteen guests will speak on topics related to community, business, health/education and culture. The event is free and offers a good opportunity for networking and to increase your knowledge of Latino culture. The celebrations continue with a salsa night at The Jewell May 8. Latin Music Series presents Andy William and The Nebraska All Stars with “El día del son cubano” from 6:30 p.m. to 9:00 p.m. ¡Gózalo! and find tickets at jewellomaha.com. The festivities continue into June with a Miss Cinco de Mayo contest on June 4 and a three-day festival with live music, carnival rides and games at the Plaza de la Raza at 24 & N St June 11-13. For more information, visit cincodemayoomaha.com. —Karlha D. Velasquez Rivas

Ongoing 10 Years After

Union for Contemporary Art

This year marks the 10th anniversary of the Union for Contemporary Art. To celebrate, the Union is planning a year of exhibitions, community engagement and surprises curated around the theme of Joy.

To kick off the celebration, The Union has unveiled its first exhibit of 2021, “Reflection,” by Omaha painter and former Union fellow Patty Talbert. The work fills most of the west facing window of Union building at North 24th and Lake Streets.

“I started The Union as a means to help uplift and celebrate the beauty and resilience of my North Omaha community — that was the dream,” said Executive Director Brigitte McQueen. “It’s been such an honor to watch that dream become actualized in such incredible ways through the support of so many people.”

Watch for more events throughout the year. Some highlights: an exhibition of works by abstract painter Mavis Pusey(1928-2019), several community-based tours and conversations around the nationally recognized “Undesign the Redline” project.

Contact The Union for further information and COVID-19 protocols at info@u-ca.org or visit its website www.u-ca.org. —Kent Behrens

A R T it’s only humanit’s only human

Bemis Tri-parT exhiBiT IntImate actIons is a naTural pandemic response

By Kent Behrens

The pandemic has forced many of us to reexamine our connections to others and develop a new appreciation for intimacy and interaction with other human beings. Intimacy is not unique to relationships. Mutual understanding and personal communication have been intrinsic to the making and viewing of fine art since the first person drew a mark on a cave wall.

The current exhibit at Bemis Center, Intimate Actions, is centered on the theme of intimacy, representations of the body and its connections to space, surroundings and relationships. The show features three solo displays by artists Paul Mpagi Sepuya, Joey Fauerso and Maria Antelman.

As she had planned before the pandemic, Bemis Director of Programs and Chief Curator Rachel Adams brought the three accomplished artists under one banner, emphasizing connections to intimacy within their disparate styles. In similar fashion to other venues, the Bemis has instituted an assigned, directional procession through the three shows. Be sure to follow the blue arrows.

In the first gallery, photographer Paul Mpagi Sepuya presents Drop Scene, a series of color prints that comprises selections from several ongoing, individual projects the artist was involved with over the last several years.

Sepuya shoots his images in-studio, and they first appear as candid shots taken between or after formal portrait sessions. Though initially appearing casual, closer scrutiny reveals carefully choreographed vignettes. The works feature mostly nude male bodies, often twisted into an appreciative or slightly teasing embrace. Some feature mirrors or subjects holding cameras pointed back at the viewer or phones depicting the same scene at which the viewer is staring. This allusion to the voyeurism inherent in all photography is subdued and does not seem overly judgmental toward the viewer. The scenes portrayed are quiet and bold but fragmented; white walls and black fabric backdrops provide the basis for each composition, exposed stands and sparse furnishings are either incidental or placed about each piece’s overall design. Occasional off-camera “extras” give an arm or leg to complete many of the compositions.

Much has been written of the racial, homoerotic, sexually provocative nature of Sepuya’s work. However, nothing here is overt; the images are sensual, and the subjects are comfortably passive yet engaged. Each model portrays dignity and vulnerability, and all have a serious, even matter-of-fact expression. The work stops well short of being prurient — the result is about intimacy, touch and being touched.

Following the blue arrow, across the main hall is work by Joey Fauerso of San Antonio, Inside the Spider’s Body. The exhibit consists of stark, black and white paintings, metal sculptural elements and two video installations. At first, the work appears to be an installation piece of various images, welded wire sculpture and video because labels are not evident. The artist preferred her titles be further off to the side than usual or around the corner, and they disappear on the white walls. Although slightly confusing at first, this ultimately doesn’t matter. Just remember to take a little extra effort to discover titles for each piece.

Fauerso’s paintings are similar in style to each other; each is done in layered and scraped blacks and whites on unstretched canvas. Created in a bold, expressive and somewhat primitive hand, the graphic, layered paintings are loose canvas panels or strips, torn in straight lines. As Fauerso states in the exhibition catalog, “I make collections of things that can be arranged in different ways. I am interested in using modular components to convey an un-

Paul MPagi sePuya; “Figure (0X5a0918)” 2019; archival PigMent Print Maria antelMan; “Forever rock” 2020; 60” Monitor; diMensions variable, courtesy oF the artist and Melanie Flood Projects, Portland, oregon.

Maria antelMan; “Hypnos” 2020; digital inkjet print, steel

derlying mobility of signs and circulation of meaning.”

The sculptural elements, welded wire cubes and enigmatic “sticks” provide a playful, solidifying structure to the presentations. However, their precise meaning, like that of the paintings themselves, is left to interpretation.

At the room’s center is “Coda,” a five-panel painting, each panel surrounded by a welded wire cube. The imagery portrays a group of nondescript people walking or marching across a landscape dotted by flags, which make it appear as if this is war or a funeral procession.

Fauerso also presents two video displays worth mentioning, “Inside the Spider’s Body” (2020) and “Attendance” (2016). Although the first is a bit long at almost 30 minutes, it is a two-channel performance of a woman “interacting” and deconstructing; loud sounds of painted canvas tearing and sliding against her body fill the room at times. Both video pieces seem to add a touch of humor and personal warmth.

Her work emphasizes the dichotomy of making and destroying and then remaking. The imagery within each is a cryptic agglomeration of landscapes, bodies, faceless groups, flags, fruit, animals, rocks and various abstract patterns. Each initially appears to be some sort of story based on a dream or folklore.

The blue arrows lead us to the last exhibit, Maria Antelman’s Soft Interface. Antelman’s black and white photographs often are presented in two, three or four images in bold, dark frames. The photos depict unclothed arms, legs, torsos, ears, all partial portraits of herself, friends or family. When presented in a group, the frames work as graphic elements tying pieces together and directing the viewer’s eye to connect the disparate parts, but always leaving pieces missing or incomplete.

Some of these assembled photos are backlit video GIFs, closed-loop animations. The animation is minimal and unnerving, simply two or three combined stills that make a chest look as though it is breathing or legs as though they are twitching. Antelman’s human subjects often partially morph into carved stone statues and sometimes further into raw rock, as portrayed in her video presentation, “Stone People” (2020).

Implicit in the three artists’ work are those basic principles that play a role in all forms of intimacy — trust and vulnerability, recognition of our mutual connections to the past and our shared, immutable quest for the archetype. In Intimate Actions, Bemis has gathered three very diverse artists who find common ground in those foundations.

The exhibition continues through April 24. The show includes three sessions of Bemis’ Public Assembly, an open community forum that uses the exhibit as a starting point in how questions related to the art impact the current social, political and artistic landscape. Public Assembly’s final session is Thursday, April 8, from 7 to 8 p.m. RSVP is required for Zoom details. Information is at bemiscenter.org.

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