Henry Payer</a> views the cultural landscape of present-day Nebraska through the vibrant lens of Indigenous ribbonwork appliqué. This artform involves sewing layers of silk ribbons, cotton, wool, and glass beads to make regalia for special occasions. The distinctive symmetrical patterns reflect kinship, ecological knowledge, and oral histories of various Indigenous communities.</p><p>Inspired by The Joslyn’s collection of Karl Bodmer watercolors, Payer created eight appliqué collages that layer Missouri River landscapes, calico fabric, and texts about the colonization of the region. He hand-stitched the designs in the Ho-Chunk appliqué style, called zeenįba hirarucak. Each floral and geometric pattern references historical examples created by Umónhon, Ponca, Ho-Chunk, Pawnee, Ioway, and Otoe-Missouria women, honoring the legacy of artists whose names were not documented. As part of this collaborative project, contemporary artists have generously shared their appliqué stories and regalia.</p><p><br></p>" itemprop="description" />

works by Albert Bierstadt</a>, <a target="_blank" href=https://www.mutualart.com/Organization/Joslyn-Art-Museum/"/Artist/Thomas-Hart-Benton-/2BB399F14C8734B3">Thomas Hart Benton</a>, <a target="_blank" href=https://www.mutualart.com/Organization/Joslyn-Art-Museum/"/Artist/John-Sloan/062D17B7D97D493C">John Sloan</a>, Georgia O’Keeffe, <a target="_blank" href=https://www.mutualart.com/Organization/Joslyn-Art-Museum/"/Artist/Jacob-Lawrence/F66B670A4BD46501">Jacob Lawrence</a>, <a target="_blank" href=https://www.mutualart.com/Organization/Joslyn-Art-Museum/"/Artist/George-Tooker/4F0266B381137B99">George Tooker</a>, <a target="_blank" href=https://www.mutualart.com/Organization/Joslyn-Art-Museum/"/Artist/Kay-Sage/78C84CBA6BABF84C">Kay Sage</a>, and others. Depictions of rail workers and passengers present trains as spaces for distinct forms of social interaction. Other works illuminate the railroad as an engine of modernity, but also a cause of population displacement, labor struggles, and environmental destruction that changed the fabric of American life, from the urban centers of the East Coast to the Heartland and Pacific Ocean.</p><p>All Aboard: The Railroad in American Art, 1840–1955 is organized by Dixon Gallery &amp; Gardens, <a target="_blank" href=https://www.mutualart.com/Organization/Joslyn-Art-Museum/"/Organization/Joslyn-Art-Museum/6F4C70BA7808B028">Joslyn Art Museum</a>, and Shelburne Museum. It is accompanied by an exhibition catalogue.</p><p><br></p>" itemprop="description" />

Alec Soth</a> uncovers the beauty and banality of the human experience. His work has taken him across the world, capturing landscapes, interiors, and people in stunning, large-format photographs. These images, carefully composed and exhibiting remarkable clarity and directness, allow the subjects to be grasped all at once, while their details—gestures, angles, objects—invite sustained attention. An immersive exploration of both the artist’s picture-making and book-making practices, this exhibition transforms The Joslyn’s Riley CAP Gallery into a reading room. Photographs from two recent projects, I Know How Furiously Your Heart Is Beating and Advice for Young Artists, hang on the walls. On a table, a selection of the artist’s photobooks situates the visitor in a small library. Taken together, the recurring motif of the book and a focus on the spaces we inhabit while reading, turns an often-solitary act into a collective experience.</p><p><br></p>" itemprop="description" />