Wanda Ewing’s artwork, Girl (#8) from the Black as Pitch, Hot as Hell series, will be on view at the Sheldon Museum of Art in the exhibition Reigning Queens: Modern and Contemporary Representations of Women, Power, and Religion from January 27 through May 26, 2023.
This exhibition examines twentieth-and twenty-first-century representations of women in art. From temptresses and monarchs to advocates and activists, Reigning Queens invites viewer to consider the ways artists have explored and challenged gender stereotypes.
Exploring race, beauty, sexuality, and identity, Wanda Ewing’s (1970-2013) art is as relevant today as when she created it. Exhibited for the first time at the Union for Contemporary Art, Wanda’s thesis book (completed in 1997 at the San Francisco Art Institute), Growing Up Black Growing Up Wanda contains both visual and textual documentation of the obstacles/experiences she encountered as a young woman of color growing up in Omaha. The unabashed frankness of image and text imbue Wanda’s work with a raw power and freshness that continues to resonate with viewers.
Growing Up Black Growing Up Wanda is the start of her journey of discovery, love, and acceptance of what it means to love yourself, understand how you look in & at the world, and how to pave your way in it. There will be a show of this work, opening the weekend of Oct 14, 2022, in Omaha, NE, at these three galleries: RBRG Gallery, The Union, and Gallery 1516. We will have a book for sale of her early work, a showing of her Senior Project, “The Book – Growing Up Black Growing Black.”
We will be selling her book for $40 each during the show at The Union. The sale of her book will go to her scholarship at the University of Omaha. This scholarship helps undergraduate art students with supplies, tuition, and books.
Threads Laid Bare is on view at the Anderson Gallery at Drake University in Des Moines, Iowa, from September 3 – October 16, 2020.
This exhibition brings together fiber and textile artists from around the country who use the medium to reveal identity, showcase a high sense of craft, and promote community. It features contemporary artists working in a variety of fibers and textile processes ranging from the conceptual use of threads to functional stitches. Artists blend drawing, painting, printmaking, sculpture and video with textiles and fibers to produce works that tackle issues of race, disability, stereotypes, immigration, heritage, and religious and domestic rituals.
Participating artists include Indira Allegra, Anna Carlson, Ann C. Clarke, Nicole Davis, Wanda Ewing, Jiseon Lee Isbara, Guen Montgomery, Cynthia O’hern, Katya Oicherman, Catherine Reinhart, Sophia Ruppert, and Alanna Stapleton.
Over the course of the exhibition, Threads Laid Bare will discuss the gendering and hierarchy between fine art and craft, educate viewers and explore textiles and fiber techniques, and promote community building through accessible events and activities.
Anderson Gallery at Drake University Des Moines, Iowa
RBR G is proud to present a collection of prints by the late Wanda Ewing.
Opening Reception: Friday, March 13th, 5-9pm
The exhibition runs from 3/13/2020 through 4/4/2020.
Gallery Hours: Wed-Sat 10-6pm
The majority of the prints featured in this exhibition are woodcuts. The Bougie Girl series, The Shape of Things (Dress) series and the 100 Hairdos series will all be included, as well as a wide variety of other prints.
Wanda Ewing was a north Omaha native and was a prolific artist that created thought?provoking artwork exploring the subjects of race, beauty, sexuality and identity.
Ewing was influenced by folk-art, and the lack thereof, of African-American women in popular culture and the art history. Within Ewing’s career, she represented the connection between autobiography, community, and history – often with a biting, comical edge.
Roberta and Bob Rogers Gallery 1806 Vinton St, Omaha, Nebraska 68108
Jan 4th would have been the big 5-0 for you. As I write this, I wonder what your life would have looked like, what your art would have been like in these past 6 years since you passed. A lot has been going on in the world as I’m sure you are seeing from above. How would your art reflect the MeToo Movement? How would you have reacted to “grab them by the pussy” comment from #45?
As you also know many of your friends and former colleagues have taken time to write funny, loving, and insightful blog post about their relationship with you. You have touched a lot of people in many different ways. Including the number of students who you have taught. One of your students, Samantha G. is now an art teacher at Benson High School. Your scholarship at UNO has awarded $7,000 to art students who needed help to finish their degree. That money comes from donations and from the sale of your artwork.
I think you know this, but I will tell you anyway – I miss you a lot. I think about you just about every day. I wonder what dreams you would have created for yourself as you think about turning 50.
This will be the last blog on your website. I want to thank each person who wrote something about you. It was great to read about their memories of you, your artwork, and the friendships. I want to leave everyone with an email that you sent one of your friends – you were asked to write a reflection of your work. I hope we have done good by you – keeping the spirit of your work and heart in the right place.
Email Sent: March 13, 2008
When I reflect on the images of the wallflower pin-ups and the magazine covers, I can’t help to feel incredibly selfish. It’s really about confronting my own insecurities by creating these visual vehicles that allow me to exorcise my demons from adolescence. Beauty is at the core of it all. How we definite it. How I define it. My wallflower girls are definitely an extension of what I had always hoped a part of me would be like – fun, sexy, playful. I have to admit, I was the textbook wallflower all through my pre-teens to college. Never the girl to be asked to dance (sigh) and I quickly became pretty self-conscience about it all. However, my wallflower prints are definitely not shy or shrinking violets. They embrace themselves fully without apology. I learned a lot from them. Another note about the pin-up girls, I think pin-ups are sexy. That may ruffle some women’s’ feathers because the pin-up genre is a male construct which objectifies women. But that is such a loaded conversation to have. I mean, how many women take sexy photos for their husbands or dress up sexy when they go out for drinks? The line in the sand is always shifting as to what is exploitative depending on who’s drawing the line. I see my girls as powerful and sexy. Formally, I love floral patterns and color. Using the old wallpaper was the perfect solution for a background. They’re printed on a square format, referencing a box. That box refers to what we do as human beings with having the need to categorize and place everything and everyone neatly into their box. My girls are placed in this space not of their own will but are saying ‘No problem. I can exist in here, but I’m going to own it as well’. Funny thing about the pin-ups, though. I’ve received more complaints from Black women. Isn’t that ironic?! As if I were creating derogatory images of black women. And then we’re back to the line in the sand. My magazine covers were very fun for me because I got to do a little writing. That’s something I’m not great at but enjoy doing. Again, this is about beauty and the beauty industry. I also raise the question about what black is and what it isn’t. I’m hopeful to not sound judgmental about the society we live in. I have my degrees of materialism and superficiality for sure. But there are extremes and beauty magazines prey on women’s self-esteem. They’re constantly telling you that you need to be fixed. And the real burn is anymore, the women smiling back at you from the covers don’t really look like that in real life. The images have been enhanced digitally creating a false and unobtainable standard. So, making up my own magazine called Bougie made sense. I’ve been called it a few times in my life and to be honest, I’ve never thought I could be accurately described that way. However, this was a great chance to fully embrace my superficial side and just get shallow. It was fun! I may try to flesh out some of the tags I made up like ‘Are You A Strong, Black Woman? Find out in 25 questions. I mean really, what would those questions be? Even funnier, it’s being implied that if you answer add up to x amount, you could be a strong, black woman without actually being black or a woman. I’m going to have to try that out. The opening went really well thanks. I overheard a couple of people talking as they were looking at the magazine covers. One person said, ‘Is she an artist or a comedian?’. I should write a book – ha, ha! I’ll talk to you soon! Ciao! Wanda
I have started this about 14 times. I get a few sentences in and hit, delete, delete, delete…
Here goes again.
Where do you start to talk about a woman who has had such a significant impact on your life both personally as well as professionally? What can I say about Wanda that hasn’t been said? I don’t know but I am going to try.
I remember the beginning and the end so vividly.
Wanda and I met at her show at the Darkroom Gallery in the Old Market back in the early 2000’s. I remember it being sunny and walking into the gallery which was full of people talking, laughing and drinking. Wanda’s prints were so large and filled the space with color, texture and the female form. I hadn’t seen any work like hers before. I remember the dress prints which took on the shapes of women who would be wearing them, without the woman in them. I remember the shoe prints and how they were shaped on the paper. I remember confronting sexual scenes and being a little uncomfortable and thinking about why I felt that way.
I had no idea who the artist was, but I was so intrigued and in awe of the work that I knew I needed to meet the person who created them.
One of the many, many things that captivated me about Wanda’s work was her interpretation of the world through the female form, the black female body to be specific. She took on issues of race, sexuality, and the standards of beauty and identity through the lens and perspective of a woman of color living and working in the very white and conservative Midwest.
I remember our discussions about this topic as she was going through the tenure process to become the first person of color to be hired full time and tenured in the Department of Art and Art History at the University of Nebraska at Omaha. She never had any representation in school and very little in college; some women, but mostly white men, so she knew being a black female professor would hopefully start a change at UNO and in the community. I remember her calls at the start of each semester that followed her making tenure, excited that there were black and brown students in her classes and LGBTQ students as well.
She didn’t always like being the “first person of color” in many areas of her professional life, but she knew nothing was going to change if she didn’t keep pushing through it. She understood that she needed to step up and be the artist for others that she never had when she was growing up. She was really proud to be and see the change happening.
I will never forget her memorial service. There were so many people that they opened an overflow room. I was so sad, but somehow also filled with such joy at the stories everyone shared about their own Wanda moments. I had no idea she had connected with and impacted so many lives. It was incredible to meet everyone. I remember we had made her a mixed tape of her favorite songs and played it throughout the service, and I know she would have been chair dancing too. I left the funeral home with a smile and I never thought in a thousand years that would have been possible. But it happened.
I think about what she would say about the state of the world today and what provocative art she would be creating in response. I can only imagine and that makes me smile.
Still so many moments, experiences and thoughts about my friend, but I’ll stop and end it the way she ended most all our communications.