GLYNEISHA JOHNSON | The Black Interior
On View: March 21 – May 4
Closing Reception: Saturday, May 4, 11am–1pm

Glyneisha Johnson.  Gettin’ Familiar , 2018. Mixed Media

Glyneisha Johnson. Gettin’ Familiar, 2018. Mixed Media

Through the use of colorful marked papers, graphite, and painting, Glyneisha Johnson explores the notion of collage as a metaphor to describe Black culture through domestic interior spaces and public Black spaces related to home. The spaces evaluate the public vs. private nature of Black identity due to colonial displacement. “The Black Interior” is a safe, creative, and healing space for Black people beyond “the public face of stereotype and limited imagination,” wrote the poet and scholar Elizabeth Alexander. It is a space that allows us to remember our history and “helps us envision what we are not meant to envision: complex black selves, real and enactable black power, rampant and unfetishized black beauty.” Highlighting spaces such as the kitchen, bus stop, and front porch, The Black Interior creates a nostalgia for a past and present that never existed. Adorned with decorative artifacts that are synonymous with black culture, spiritual motifs, and referential figures the spaces reflect the desolate truths and overt absences that reside there.


Glyneisha Johnson

is a multimedia artist, currently living and working in Kansas City, MO. Johnson completed her Bachelors of Fine Art in painting from the Kansas City Art Institute in 2017. Johnson is a current artist in residence at the Drug Store Studios and a 2018 recipient of the Drug Store Studios Artist of Faith Reward. Johnson has exhibited in various solo and group exhibitions in and around Kansas City, including La Esquina, SPIVA Center For the Arts, Leedy-Voulkos, and The Writer’s Place. Johnson’s work has been recently added to the collection of The Nerman Museum of Contemporary Art at Johnson Community College in Overland Park, Kansas. Through collage, painting, and drawing, Glyneisha Johnson’s work echoes nodes of black culture and her experience of being raised in Dallas, TX. Her work acknowledges the importance of Black domestic interior spaces while using collage as a metaphor to describe an imaginative vision of black life.

Learn More At:

May 16 – June 25, 2019
Jave Yoshimoto

photo by Dana Damewood

photo by Dana Damewood

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. 


Santiago Cal |  Shaped by the Other

Santiago Cal | Shaped by the Other


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