Show your support with a Bemis T-shirt! Available for pick-up at our Swag Table in the tent (or mailed to those not in attendance).

The "X" mark within the Bemis Center logo is inspired by our geo-location. Located in Omaha's historic Old Market, and central to both the Midwest and United States, the "X" is emblematic of Bemis as a hub for the most cutting edge art experiences today.

Show your support with a Bemis mug! Available for pick-up at our Swag Table in the tent (or mailed to those not in attendance).

The "X" mark within the Bemis Center logo is inspired by our geo-location. Located in Omaha's historic Old Market, and central to both the Midwest and United States, the "X" is emblematic of Bemis as a hub for the most cutting edge art experiences today.

Elisabeth Kley: Minutes of Sand features an entirely new body of work, sitting at the distinctive confluence of pattern, decoration, and contemporary art. Known for her black-and-white patterns featured in ceramics, drawings, paintings, and site-specific installations, the artist draws inspiration from motifs featured in ornamentation, architecture, interior decoration, and a myriad of global art traditions. Merging the ancient and modern, Kley translates these fragments into an interdisciplinary practice conveying ideas of opulence and mystery.

This is the artist's first solo museum show organized by the Fabric Workshop and Museum (FWM) and traveling to Bemis Center. Invited to print yardage utilizing FWM's world-renowned screen printing facilities, Kley interweaved her ceramic and painting practices with three new yardage designs and a new suite of ceramic sculptures for the exhibition.

This exhibition catalogue was co-produced by Bemis Center, The Fabric Workshop and Museum, and Canada Gallery.

Maya Dunietz: Root of Two is a 144-page catalogue accompanying the exhibition of the same title at the Bemis Center in 2022. Co-published by the Bemis Center and X Artists' Books and designed by Omnivore, this catalogue traverses the career of experimental musician and composer Maya Dunietz, unveiling her multidisciplinary practice that has spanned performance, composition, sculpture and installation, avant-garde theatrical performance, and choir work. Edited by Rachel Adams, Chief Curator and Director of Programs at the Bemis Center, other contributors include Chris Cook, Maya Dunietz, Michael Pisaro, Galit Eilat, Ariel Ashbel, Chen Tamir, Sergio Edelsztein, Ran Kasmy Ilan, and Keren Rosenbaum.

The solo exhibition, Maya Dunietz: Root of Two engages the physicality of sound through a series of installations encompassing the entirety of Bemis Center's 13,000 square foot gallery space. The works become an ensemble, connecting with each other through the viewer's experience. As sound materializes, the works unfold and intertwine, enabling a transformative experience. In the traditional sense, they are singular works, yet they resonate with each other, rely on one another, and as a visitor walks through the galleries, the previous works sonically and physically influence what comes afterward as well as what came beforehand.

This exhibition catalogue accompanies Bemis Center's 2020 exhibition Claudia Wieser: Generations. Referencing the history of space and form through architecture, design, and imagery, Claudia Wieser considers the coexistence of abstraction and the physiological experience through her spatial installations. With a nod to Modernist geometric constructions inspired by the Bauhaus and influenced by spirituality within an artistic practice like artists Hilma af Klint, Wassily Kandinsky, and Paul Klee before her, Generations encompasses Wieser's distinctive, multi-faceted practice.

Alongside images of her artworks and installations, this publication features essays by curators Rachel Adams and Jennifer Carty that examine Wieser's practice in relation to its historical foundations and influences. This volume also contains three interviews conducted by art historians and scholars Maggie Taft, Igor Siddiqui, and Angelik Vizcarrondo-Laboy, offering a range of perspectives on Wieser's multidisciplinary practice.

In TIMESHARE, Mayer explores how art can function and/or aid during times of disaster or even when the planet becomes uninhabitable. Her work uses the formula of part solutionism part subtle denial mixed with an "everything will be fine" attitude. While the problem might actually be too large to be addressed in any actual sense, the works in this show attempt, with humor and insight. For example, A Sculpture Can Be Used As A Flotation Device In Times Of Emergency is a text work that greets the viewers, and sets the stage for the exhibition. Upon entering further, the viewer will be transported into a contemporary conservatory, an indoor/outdoor sculpture park of sorts, complete with fountains, architectural resting zones, and greenery. Through a variety of mediums that include video, painting, and sculptural objects, Mayer's environment can act as a place that offers refuge and solace while also serving as a blueprint for garden designers of the future. TIMESHARE investigates and comments on both art's objective and the artist's responsibility.

Jillian Mayer: TIMESHARE was first presented at the University at Buffalo Art Galleries February 5-May 11, 2019. This exhibition was on view at Bemis Center in 2020.