Among its spring shows, Sheldon Museum of Art opened two exhibitions organized by University of Nebraska–Lincoln faculty. The exhibitions “Visualizing Survivance, Visualizing Permanence” and “Infinite Hopper: An Algorithmic Journey Through Light and Space” run through July 13.
For the exhibition “Visualizing Survivance, Visualizing Permanence,” Angel M. Hinzo (Ho-Chunk, Winnebago Tribe of Nebraska), assistant professor of history and ethnic studies, selected works by Native American artists and photographs that demonstrate the enduring presence of Native American communities. These works illustrate the spirit of visual sovereignty, a term used to describe contemporary Native American art that prioritizes the perspective of Indigenous artists and reclaims physical and cultural space.
Hinzo organized “Visualizing Survivance, Visualizing Permanence” in collaboration with Christian Wurst, associate curator for exhibitions at Sheldon.
“Dr. Hinzo bridges the history of the settler state with contemporary issues confronting Native communities. Her approach brings together archival research, feminist theory, activism, and visual culture,” Wurst said, noting the significance of Hinzo's interdisciplinary scholarship and teaching practice.
The exhibition “Infinite Hopper: An Algorithmic Journey Through Light and Space” was created by Novy, assistant professor of emerging media arts. His presentation uses cutting-edge generative technology to produce an endless flow of Edward Hopper–inspired imagery that never repeats or loops.
Erin Hanas, curator for academic and campus engagement sees “Infinite Hopper” as an ideal project for the museum’s Cline Engagement Lab, where “experimentation often leads to dialogue between the traditional and the contemporary. Through Novy’s innovative work, museum visitors are empowered to explore how modern technology can reinterpret and honor fine art.”
Sheldon Museum of Art houses an art collection of international distinction in a landmark high modernist building at 12th and R streets.
