Matthew Sontheimer: That's right...I still don't have a website.
Opening Reception: March 9, 6–9PM
On View: March 9 - April 14
The Union for Contemporary Art is pleased to present the exhibition That’s right...I still don’t have a website., featuring the work of Lincoln-based artist Matthew Sontheimer. His maze-like drawings and photographs explore how we access, process, adapt to, ignore, and otherwise live with information. Text-centric compositions follow the artist’s internal dialogue, presented as an ongoing conversation between two fictional characters. Expressing the sometimes discordant speeds of thinking and making, Sontheimer’s works are filled with revisions, sidebars, and tangents that provide a wry running commentary about his own process.
Born in 1969 in New Orleans, Matthew Sontheimer received a B.F.A. from Stephen F. Austin State University and an M.F.A. from Montana State University, Bozeman. He has had solo gallery exhibitions in New Orleans, Houston, Dallas, and New York, and exhibited in group shows at UCLA’s Hammer Museum, Los Angeles, the Contemporary Arts Museum Houston, the Museum of Fine Arts Houston, the Contemporary Arts Center New Orleans, and the Joslyn Art Museum, in Omaha. His work is represented by the Talley Dunn Gallery in Dallas, Texas, and can be found in the permanent collection at the Museum of Fine Arts, Houston, Texas, the New Orleans Museum of Art, New Orleans, Louisiana, and the Whitney Museum of American Art, New York, New York. He is currently an Associate Professor of Art at the University of Nebraska-Lincoln.
Our 2018 exhibition program is generously sponsored by Paul & Annette Smith.
May 4 – June 30
Salon Time: Sonya Clark+Althea Murphy-Price+Nontsikelelo Mutiti
Wanda D. Ewing Gallery
The Wanda D. Ewing Gallery is dedicated to the Omaha artist and educator who passed away in 2013. Ewing’s work ranged from traditional print media to painting, sculpture, and fiber arts, and was influenced by folk-art aesthetics and the depiction—and lack thereof—of African-American women in popular culture and the canon of art history. Throughout her career, she represented the connections between autobiography, community, and history, often with a biting, comical edge.
Born and raised in Omaha and educated around the United States, both the artist and her work traveled around the globe: she felt strongly about the fact that where one has been in the past—literally and figuratively—affects how one proceeds in the future. This often led her to historical representations of women in popular and folk expressions, such as pin-ups, beauty advertisements, “Mammy” dolls, and “exotic” figurines, all of which promote sometimes powerful, sometimes problematic ideals of womanhood into which she often projected herself. In sometimes-humorous, sometimes-serious appropriations of works by white, male artists from Western art history she similarly, meaningfully recast the figures in ethnic and gendered configurations that require viewers to rethink the originals. In so doing, Ewing encouraged dialogue around questions of who is allowed to make, see, and be seen in visual culture, and whether the arts look like the communities we live in, challenging her audiences to believe in the transformative power of art to conjure images where people might be themselves wherever they can see themselves.