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Home - Art
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Blossom Time
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RNG Gallery features first solo show of artist Dana Rose
by Michael J. Krainak
RNG Gallery director Rob Gilmer takes as much pleasure with first time offerings as does partner Renee Orduna, owner and head chef of Dixie Quicks eatery next door at 20th and Leavenworth.
“I especially enjoy introducing new artists to Omaha,” Gilmer said. “Not just emerging artists, but those who’ve never had a solo show in this area whatever their background. Omaha loves having its horizons widened especially with those it can call its own.”
Two such artists are John Valentine and Dana Rose, both originally from the Omaha area, who’ve returned and are each currently enjoying first solo exhibits in Omaha under Gilmer’s direction. Gilmer curated Valentine’s show, at the 616 Gallery in the Old Market, which runs until Feb. 27. Yugen, The Art of Mystery consists of large, abstract paintings that combine themes of “Tibetan enlightenment and the chaos of modern environments.”
Rose, a freelance graphic artist and photographer, is featured at RNG with American Byproduct. Despite Rose’s well-intended artist statement, this multi-faceted, media mix of photography, painting and assemblages is more of a catalogue show of her career since 1999.
Overall, Rose reveals herself, literally and figuratively, in more than 70 works that are as diverse and enticing as Orduna’s menu next door. Though not yet the virtuoso as that seasoned chef, Rose offers much to enjoy as she appears to be sampling in an attempt to find her voice.
Gilmer and Orduna artfully arranged and lit the work so that individual pieces do not compete. The dominant genre here, regardless of medium, is portraiture; hers mostly, but family, friends and students as well. As the subject of much of this always interesting work, Rose is not shy about her own nudity or about being a provocateur in a social/political arena; that’s refreshing in this region.
Gallery 1 highlights familial and friendly portraits and narratives with a few notable exceptions. In Gallery 2 the portraits are more illustrative and topical and may remind one of the works of another area artist who integrates racial and cultural themes, Wanda Ewing. Gallery 3 continues the social dialogue with varying degrees of success, but it spotlights several dramatic and inspired self-portraits.
Consider these standout pieces as you move through the show. Along with her emotionally charged self-portraiture, perhaps her most accomplished work in American Byproduct are the group portraits that dominate Gallery 1, especially “Scary Terry,” “Stick Ball” and “New American Car.” Subject-wise, these are true slices of Americana anyone can identify with since they exude and transcend ethnicity.
Aesthetically, Rose crafts here in a style that combines the flat planes and hues of local color artist David Bates with her rich, atmospheric settings. Yet her colorful, evocative figures — mostly kids of all ages — best reference the expressionistic portraits of Frederick Brown who had a knack of revealing contemporary cultural identity through African-inspired, mask-like visages.
These oils also remind one of movie stills from Spike Lee’s auto-bio Crooklyn with Rose’s similar skill for capturing kids full of “piss and vinegar,” at play, at school, just messin’, self-centered and troubled with self-doubt. Rose seems to understand this duplicity, and in Gallery 1 her more mannered portraits, “Delvon in France” and “Masked Ex-man” reflect this as well. Less effective here and throughout the show are attempts at Pop Art such as “Don’t Ask” and “Booty Queen.” This conceptual overreach continues into Galleries 2 and 3 with the obvious “American Nude” and “The End,” which, despite their deliberately effective titillation, do one’s thinking for one.
More effective in Gallery 2 is a fetching series of portraits on cardboard with titles such as “Happily Ever After” and “I Didn’t Want Him.” In each is a flattering self-study that is at once pensive, vulnerable and self-aware. They resemble the illustrative Bougie Magazine Covers of Ewing with their flair for make-up, fashion and stylin’ but minus the satiric, cultural edge Ewing explores. Instead, these are personal, and Rose does wonders with just a tilt of the chin or softness around the eyes and mouth.
Gilmer and Rose save the most emotionally charged work for Gallery 3, two companion oil self-portraits, one of which greets viewers from a distance as they enter RNG. Rose’s charm and vivaciousness notwithstanding, “Self Portrait in Chicago” (2004) and “Self Portrait with Red Jacket” (2005) reveal another side, darker and introspective, as the subject gazes at the viewer both guardedly and defiantly. Not all of her self-subjects work here. “Slapstick Equation” that equates the artist to a sum of a slice of watermelon and fried chicken leg is a too easy take on racial stereotypes.
But that piece dates to 1999. Since then Rose’s art has run an emotional and experimental gamut in search of a vision and POV. American Byproduct demonstrates that she blossoms best when she is personal, sensual and provocative without being overly stated and derivative.
American Byproduct continues at RNG Gallery, 20th and Leavenworth through Feb. 21. For details call 214.3061.
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