The FBAlous! Project Art Auction
Bidding ends Friday, May 1, 2015 | 8:30 PM Central
Auction closed.
The FBAlous! Project Art Auction
Bidding ends Friday, May 1, 2015 | 8:30 PM Central
Auction closed.
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Description
A public art project that celebrates the history and contributions of Omaha's Fontenelle Boulevard.
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Closed Lots
Youths Tree
Width: 7.5"Height: 21"Artist: Jacie & Sam Daeges
Medium: Crayon/marker/mixed media. This is a work of art from a mother-and-son team. The tree represents community. The circles in the background represent the ripple one person can make on a community. The leaves represent youth; Sam drew and colored in all the leaves. He is 8 years old. They also represent not being perfect but still being a huge part of the tree (community). Even the smallest leaf can make a community look better and help the tree grow into something strong.
Multiplicity
Width: 10"Height: 28"Artist: Derek Courtney
Medium: Ink in vintage map. My art is the result of the way my brain reacts to different concepts while in the process of creating. That isn’t to say that these ideas, images or themes become the subject of my work. More accurately, my art is about the synthesis, alteration and even the obscuring of these things. Mankind’s impact on the environment, production vs. depletion, the individual vs. the greater good, the concept of “invasive species” and the labor movement in the United States have all been themes that served as a starting point for my recent work. These are concepts that have carried strong meaning(s) for me because of my upbringing and my vocation. They influence the images I choose to make and the way I make them. However, I do not strive for them to be apparent to the viewer. For this particular project, I have chosen to focus on the concept of land use/ownership and its relationship to the concept of community. The background of the piece is made from vintage surveyor’s maps of the Fontenelle Boulevard neighborhood. These maps, which include lot numbers and defined boundaries, highlight the human tendency to divide and own land. Over these maps I have applied a screen printed image of a honeycomb and a loosely rendered print of bees. The idea of many organisms working together for the benefit of a larger community is meant to counteract the human tendency to separate ourselves from one another physically, emotionally and financially.
Knock, Knock, Knock
Width: 10"Height: 28"Artist: Jenny Deutsch
Medium: Colored pencil and acrylic. Observation is not only important in birding but it is also important in art. Through their colors and behavior in their natural environment, birds add enjoyment to our lives. My hope is that my banner design not only complements the physical surroundings but also adds delight with its color and subject matter – aesthetics while encouraging thoughts of outdoor fun!
Interpretation
Size: 1 1/2" DepthWidth: 12"Height: 30"Artist: Brian Hamilton
Medium: Ink transfer on MDF. This piece is ready to hang & includes a 10”w x 28”h digitally generated print. Interpretation is intended to be an honorarium of the immense services that Logan Fontenelle* provided the United States and The Omaha people by mediation. The image displays a contorting array of lines that morph or interpret between three distinctive profiles within the composition. The profile at the bottom is the route of the Missouri River along the eastern boundary of Nebraska. The middle profile is that of a horse’s head, which serves as a representation of Shon-ga-ska. The top profile is that of the route of Fontenelle Boulevard. The composition is intended to be understood chronologically from the bottom (the past) and building upon itself as it interprets one defining profile of this historic narrative to the next. The rich history of Omaha includes a chronicle of a Native American Tribe of the equal namesake. The Omaha Tribe reached the city by traveling from the north via the Missouri River. A historically significant figure from the Omaha Tribe was one Logan Fontenelle, also known as Shon-ga-ska (White Horse). Born in 1825, Fontenelle was of Omaha and French ancestry who served as an interpreter between the United States government and the Omaha Tribe, most notably during the U.S. negotiations with Omaha leaders about ceding land to the United States prior to settlement on a reservation. Among a number of fixtures and institutions of Omaha, Fontenelle Boulevard (formerly known as Boulevard Avenue) was dedicated in the year 1900 to the legacy of Logan Fontenelle.
Boulevard
Width: 10"Height: 28"Artist: Kimberly Reid Kuhn
Medium: Enamel on paper. Cultural and political institutions impress upon our lives in conscious and unconscious ways. Without often knowing, we tend to mirror and revere the way large and powerful establishments confine us. In fact, these institutions may function as contemporary icons for our own social and personal space making. Drawing upon historic and contemporary icons from our unconscious reality, the presented work explores community dichotomies, using mark making generated in a method similar to automatic writing. This content is drawn from myths and is seen in fragmented and compartmentalized layers. Graphic shapes are synthesized into a seamless, cacophonous flow. This is a flow harnessing a frenzied vigor; an energy that ricochets between what confines and what we try to reach.
Aboriginal Light
Width: 10"Height: 28"Artist: Natalie Linstrom
Medium: Acrylic on cotton rag paper. Aboriginal Light is inspired by the world’s indigenous cultures and the lush colors, patterns and design found in their celebratory costumes as well as their everyday clothing, textiles and ceramics. This artwork is part of Linstrom’s Structure and Decay Series. Structure and Decay Statement: The spirit of life’s raw beauty and sacrifice is written in these works. Disarray and decay are recorded upon a foundation of grids, patterns and systematic mark making. The works both revel in a place of respite, rest, peace and prosperity while wrestling with the traces, stains and spillage of love, faith and hope. Constancy, normality and complacency intermingles with signs of war, deprivation and yearning. Life’s song is held within layer after layer of chipping, bubbled, peeling, dripping, oozing paint!
Caution
Width: 10"Height: 28"Artist: Courtney Kenny Porto
Medium: Acrylic. As an artist I am inspired by everyday life, by the frustrations and joys as well as its ironic and incongruous nature. My work depicts various situations, struggles and revelations that I have experienced. It communicates my philosophies, sense of humor and idea of beauty. I believe that in order to be truly genuine, artists must portray ideas and concepts that are close to their own heart. The truly powerful artists do this in such a way that others are also able to deeply relate. This is my objective. A willingness to be vulnerable, raw and truly authentic is difficult. We often work hard to hide who we really are and what we are thinking or feeling. For this reason, body language, faces and eyes fascinate me. Consequently, I draw and paint eyes, faces and nudes to depict in each subject what is authentic and what is not. I am drawn to the human form, particularly the female form. The elegance, fluidity and sincerity in the female figure captivate me. I consider myself to be a feminist and often depict these beliefs in my artwork - sometimes consciously, sometimes not. These pieces illustrate the social pressures, struggles, sexuality and poise of being a woman. They celebrate the unique characteristics and differences that make up the female gender. One of the most influential revelations I have had thus far in my art career has been my discovery of yarn as a medium. Before discovering yarn, I had hit my first artists' block. For the first time in my life, working in the studio had become a chore. I was feeling detached and needed a change. Working with yarn was the answer. I was suddenly connected again. I became “hooked,” and admittedly, slightly obsessed. It brought about new excitement, challenges and the physicality I was looking for. As for my aesthetic, I am generally an analytical artist. Most of my work is meticulously planned, and I take great pleasure when the end result matches the vision in my head. Most of my work contains little or no color. I find the abundance of color to be trivializing and empty. For me, it lacks the depth that gray-scale can offer. When I do use color, I use it sparingly - either in muted form or amongst a gray-scale majority. I work in a variety of styles and media. Though I am most recognized for my yarn paintings and realistic charcoal drawings, I also enjoy using acrylic and mixed media. While some criticize artists who stray from one style and medium, I oppose this type of categorical thinking. This school of thought relies on being able to place everyone and everything into a single classification, a realist or an expressionist. I believe artists, of all people, should allow themselves to break the rules and create outside the category.
Frank the Frog enjoying his ride
Width: 10"Height: 28"Artist: Dawn Smith
Medium: Mixed, pen-ink, Stonehenge paper, gel medium (matte), acrylic paint. Through my mind’s eye, I see a world of wild colors, exotic landscapes and whimsical circumstance. I seek to create art that exemplifies these ideas through paint, pen, ink and mixed media. Using a variety of subject matter, I weave political statements, history and personal reflection about identity throughout my art. My personal experience has served as a mentor in the art of shadows, highlights and emphasis.
