Archive for the ‘Loves Jazz & Arts Center’ Category

Omaha’s Love Family hosts celebration and street naming for Preston Love Sr.

Omaha’s Love Family hosts celebration and street naming for Preston Love Sr.

Friday, July 13

6 p.m.

24th and Lake

Preston Love Sr. Street

Speakers to include John Beasley and Curly Martin sharing stories about the late jazz musician, composer, arranger, band leader, educator, commentator and author. Preston Love Sr. was a charter member of the Omaha Black Music Hall of Fame, the namesake of Loves Jazz & Arts Center and the author of the critically acclaimed memoir “A Thousand Honey Creeks Later.”

Musical tribute concert immediately following at Loves Jazz & Arts Center by some of Omaha’s finest artists. Featuring songs performed and loved by Preston Love.

$7 donation


When I began writing about North Omaha’s African-American community 20 years ago or so, Preston Love Sr. was one of the first persons I reached out to. He became a source for the and the subject of many of those early stories. He was a wise and loquacious sage with a real sense of history about his music, his people and his community.

The first article I got published in a national magazine was about Preston.

A good share of my work about him appeared around the time of the release of his long-in-the-making and highly regarded memoir, “A Thousand Honey Creeks Later.”

Upon his death, I was asked to write an in memoriam piece for The Reader.

A few years ago, I wrote a new piece compiled from my many stories about him, and read it at Loves Jazz before a packed house.

I have also written some about his son Preston Love Jr. and his daughters Portia Love and Laura Love.

Whether you knew the man and his legacy or not, here is a list of articles I featured him in that hopefully provide a fair representation of the man and the artist:…late-hepcat-king/…ed-at-everything…end-preston-love…l-not-be-stilled

There are several more stories in which I quoted him about everything from Native Omaha Days to soul food or referenced him in relationship to North Omaha’s live music scene and the area’s attempted revitalization.


Identical twin horn players set to lead Omaha jazz revival

March 27, 2018 1 comment




Potash Twins

Identical twin horn players set to lead Omaha jazz revival

©Story by 
©Photography by Bill Sitzmann
Originally appeared in Omaha Magazine


Omaha once reigned as a major live music hub where scores of legendary artists came to perform. Many resident musicians who got their chops here used Omaha as a springboard to forge fat careers on 
the coasts.

The local African-American music scene was particularly lively from the 1930s into the 1970s, with jumping venues and jam sessions galore.

Then, that halcyon time faded away.

Now, identical twins Ezra and Adeev Potash of Omaha, two fast-rising horn players with crazy close ties to such living-legend jazz greats as Wynton Marsalis and Jon Faddis, are intent on reviving that long dormant scene. Nominated for Best Jazz for the 2014 Omaha Entertainment and Arts Awards, they recently became co-artistic directors at the Love’s Jazz & Arts Center in Omaha. The twins, who turned 20 this fall, booked an all-star lineup of local artists at LJAC through 2013, headlining some dates themselves.

But it’s all a prelude for something grander. In collaboration with LJAC executive director Tim Clark the brothers are busy raising funds to underwrite a 2014-2015 lineup of jazz superstars. Many prospective guest artists are personal friends and colleagues of the twins in New York City, where the Westside High School graduates study music.

The brothers and Clark want nothing less than to create a world-class jazz club at the center, whose jazzman namesake, Omaha’s own Preston Love Sr., played with Count Basie and came of age in local nightspots like the Dreamland Ballroom. All the jazz giants played there or at Allen’s Showcase and other
long-gone venues.

Clark says, “What’s so exciting about the twins is their enthusiasm and their sincere desire to preserve one of America’s original art forms, jazz, and to put Omaha back on the map as a national jazz hub. They’re very serious about their craft and making jazz a priority in Omaha. They bring a breath of fresh air.”

“We’re going to try to raise the money to do the season right,” says Ezra, who plays trombone, tuba, and sousaphone.“We’re meeting with donors to prove to them our passion and our vision to get what we need to become a sustainable jazz club. The thing we want people in Omaha to know is that we have the connections to bring in the biggest names in jazz. The only way we can make it happen is if Omaha gives us the resources to make it happen. We’re really close to getting it.

“Now is the time. Omaha’s really thriving as a city and becoming known for its arts. Jazz is a historical music with strong Midwest roots. North Omaha was a center of jazz, and it can be that again.”

Adeev, who plays trumpet, says, “We want to make Love’s Jazz an attraction for not only the Midwest but around the country. You won’t have to go to 18th and Vine in Kansas City or to the Dakota Club in Minneapolis to listen to great jazz.”

There are plans to upgrade the acoustics at LJAC to “make it a state-of-the-art performance space,” says Ezra.

As unlikely as it sounds that two suburban Jewish-Americans barely out of their teens should lead a jazz revival in the heart of Omaha’s black community, it’s just par for the course for the twins. At 15, their chutzpah translated into a private lesson with trumpet master Marsalis after sneaking backstage at the Lied Performing Arts Center in Lincoln following a gig by his Lincoln 
Center Jazz Orchestra.

They appreciate what they have with Marsalis, who’s introduced them to other jazz icons, some of whom they’ve played with.

“Because of our relationship with Wynton we’re able to meet, hang out with, and learn from the best musicians in the world,” says Ezra. “We have a lot of awesome opportunities. We’re always eager to learn. And we like sharing with Omaha what we’re exposed to.”

Faddis confirms the brothers are “not shy” in approaching accomplished players like himself, Marsalis, and Jonathan Batiste for “pointers.” That networking has the brothers getting schooled by the best in the field.

“We’re living jazz history,” says Adeev, who studies under Faddis. “Wynton is the modern Coltrane. Jon Faddis is the disciple of Dizzy Gillespie. I feel honored to be part of the legacy they’ll leave me.”

Clark describes the twins as ambassadors, but the brothers also enjoy the limelight. In March, they performed at South by Southwest in Austin, Texas, where they led an impromptu New Orleans-style “second line” parade down Sixth Street that National Public Radio featured. A film crew following them for a proposed reality TV series was there and at the May Berkshire Hathaway Shareholders Meeting, where the brothers performed. They also did a recent talk at October’s TEDx Omaha event on the Creighton University campus.

Their talk and performance there focused on the intuitive communication and bond twins enjoy, an asset that is magnified on stage. “Twins in general like to finish each other’s sentences,” says Adeev, “and that kind of works the same in jazz.”

Potash Twins making waves in jazz: Teen brothers count jazz greats as mentors

June 5, 2013 2 comments

Appearances can be deceiving.  Take the subjects of this story, for example.  On first blush who would be less likely to be positioned to lead a revival of Omaha’s once kickin’ but long dormant live jazz scene than a couple of Jewish kids from suburbia?  What’s more, you probably don’t think of privilged white boys as being promising proteges of contemporary black jazz greats.  But in each instance the Potash Twins, 19-year-old identical twin brothers from Omaha, are overturning assumptions, Their making waves in the world of jazz not just in their hometown but in places like New York City and New Orleans.  They count among their mentors Wynton Marsalis, Jon Faddis and Jonathan Batiste.  It’s anybody’s gues what they’ll end up doing in jazz but they’re riding a wave that at least for now shows no sign of slowing.  I have a feeling I’ll be writing about them for a long time.


Potash Twins making waves in jazz: Teen brothers count jazz greats as mentors

©by Leo Adam Biga

Originally appeared in The Reader (


Identical twin brothers from Jewish suburbia, Ezra and Adeev Potash, are Omaha’s unlikely gift to the jazz world. Their soul and funk-infused horn playing has everyone from Big Sam Williams to Wynton Marsalis singing their praises.

Ezra plays trombone, tuba and sousaphone. Adeev plays trumpet. The Westside High School grads recorded their 2012 debut album, “Twintuition,” in Omaha as a New York City calling card. The 19-year-olds are elite music students there.

They’ve parlayed a gift for schmooze and chutzpah into private lessons and close personal relationships with jazz greats, notably trumpet master Marsalis.

“When we go to concerts we bring our instruments with us and for us that’s like a baseball fan bringing your glove to a game hoping to catch a foul ball. But for us the foul ball is the lesson, and we’ve caught a couple foul balls,” says Adeev.

They also have a knack for nabbing national attention. In March they performed at South by Southwest in Austin, Texas, where they led an impromptu New Orleans-style Second Line down Sixth Street that National Public Radio featured. A film crew following them for a proposed Reality TV series was there and at the May Berkshire Hathaway shareholders meeting the brothers performed at.






Currently back in Omaha on summer break they’re performing June 8 with their band The Potash Twins at LoessFest on the same bill as Don Vattie, a New Orleans legend Marsalis introduced them to. The free fest is at River’s Edge Park on the Bluffs end of the pedestrian bridge. The brothers’ group consists of players from the Westside jazz band they anchored along with other hometown friends. Following their 4 p.m. appearance Preservation Hall Jazz Band takes the stage at 7:30.

Ezra, who describes himself and Adeev as “musicians, entertainers and personalities,” says they realize how surreal a ride they’re on. It’s why they’re already writing their memoir.

“It’s been a fast transition and a huge transition for us,” he says. “You wouldn’t believe some of these things that happen to us. I have to write them down. Every time something happens we look at each other and say, ‘I can’t believe this is happening.’

Like meeting jazz heavyweight Jonathan Batiste on the streets of New York and being invited to a Harlem church gig he was playing. They went to dinner with him and that led to playing with him at the famed Dizzy’s Club, where Marsalis and Bobby McFerrin were their rooting section. All that in their first week in the city.

Ezra and Adeev have since performed several times with Batiste.

“We can’t believe the way our lives have turned out. We were never that serious about being musicians until we met Wynton in 2008. The next thing we know we’re playing with all these people and invited to all these things, living in New York City,” says Ezra.

Their superstar mentor, Marsalis, opens doors for the twins to hang out and jam with major artists. Indeed, the brothers may have never emerged as promising jazz newcomers if not for Marsalis, who took them under his wing in a series of backstage encounters that changed the way they thought about music.

That first meeting in the green room of the Lied Performing Arts Center in Lincoln, Neb. turned into an extended private lesson.

“We talked for a really long time about what it means to be a musician. Wynton’s very about being humble and just representing the music like you’d represent yourself. It’s something he always talks about,”  says Ezra. “When Wynton told us ‘you guys should be learning this’ we had to learn it, especially if we wanted to continue a relationship with him. It was like, If we want to be musicians this is what we need to do. He handed us like a free pass almost.”

The twins acknowledge their nonchalant attitude about music turned around once Marsalis entered their lives.

Ezra says, “That lesson really got us serious about being musicians. Everything changed from that point on.”

“We started practicing a lot more,” says Adeev.

After a Marsalis concert in Minneapolis the brothers attended Marsalis offered to help with their college admissions applications. They’re not entirely sure why he’s taken such an interest other than the fact “he knew we were eager,” says Ezra. “He gets it that we understand basically what he wants us to do.

“We’re apt students,” adds Adeev. “When we saw him the third or fourth time he said he had a huge connection to us because we were old souls. But I don’t know if that would describe us.”

They do acknowledge their deep appreciation for jazz is unusual for people their age. Their brazen approach to big names, usually sneaking or fast-talking their way backstage, “kind of takes artists by surprise,” says Adeev

“They can see we’re really interested,” says Ezra. “They don’t mind, especially because we’re eager to learn from them, and we’re respectful and we really appreciate their time. They see we’re more students than fans.”

“We think this is something jazz musicians have – a willingness to welcome eager younger musicians. It’s a jazz family,” says Adeev.

The twins attribute their rapid progress to hard work and good instruction more than prodigious talent.

“I wouldn’t say we have natural ability. I just think we’ve had really good music education,” says Adeev.

Ezra says, “I think we’re the poster children of Omaha or Westside music education. We learned how to play and we just continued.”

Then came the lessons from jazz greats. Today, Adeev studies under Dizzy Gillespie protege Jon Faddis and Ezrra with veteran sideman Dave Taylor. “We take what they give us and we kind of run with it,” says Adeev.

They know they have much to learn.







The brothers are not only tight with Marsalis but with his Jazz at Lincoln Center Orchestra, whom they first met in Omaha in 2009 “after worshiping their musicianship for a year,” says Adeev.

“We knew all of them by name. We had studied this band. It’s like people collect baseball cards, well we memorize everything about certain jazz musicians,” says Ezra. “We got such a connection with them the first time and we got like really good one-on-one advice from top New York musicians.

“They are like our adopted parents in New York City. It’s pretty special because Jazz at Lincoln Center is a huge organization. These guys are pretty famous. We feel so honored with that ”

The twins are determined to get horn players respect across genres. They aspire being the horn section of a famous band.

They also want to revive Omaha’s live jazz scene. They recently played at Loves Jazz and Arts Center, where they learned about its namesake, local music legend Preston Love Sr. and North Omaha’s jazz hub legacy.

“We want to give back to Omaha specifically. We want to bring in these big artists we know. We really want to develop a New York City-Neb. jazz connection,” says Ezra, who confirmed that he and Adeev are LJAC’s new artistic directors.

He’s aware how strange it is he and Adeev are “the jazz representatives of Neb. in New York.” He’a aware too how ironic it would be if North O’s jazz scene is resurrected through the efforts of two white Jewish boys from the ‘burbs. But they’ve found a shared interest with Loves Jazz to recapture a music heritage.

“They have the passion for it, we have the passion too. We want to bring that back,” says Ezra, who imagines a packed jazz club and hot jam sessions there. “We really do have a love for the music and we’re trying to bring it to places where it’s not as accessible. A lot of people say jazz is dead. It’s definitely not at its peak but I think it’s something people can relate to if they put the effort in.”

Meanwhile, the bros have written original tunes for their second album, which they’ll record in New York this fall.

Follow the Potash Twins at

Carver Building rebirthed as arts-culture haven; Theaster Gates, Rebuild and Bemis reimagine North Omaha

December 5, 2012 6 comments

Art meets urban planning meets community engagement in the work of Theaster Gates.  The Chicago-based artist and planner is the driving force and facilitator behind a collaborative between his own Rebuild Foundation, the Bemis Center for Contemporary Arts, and the City of Omaha in giving new life to an abandoned building in the inner city.  In an era when red lining practices confined blacks to certain areas the former Carver Savings and Loan Association helped them get into homes of their own, where they wanted to live, and now its old offices will be home to black artists from North Omaha as well as to an art gallery and a Big Mama’s sandwich shop.  I write about the venture in the following piece appearing in The Reader (, and allude to how this project is one of several developments in North O that are laying the foundation for the envisioned arts-culture district in the 24th and Lake area.  I will be revisiting this story over time.





Carver Bank


Carver Building rebirthed as arts-culture haven; Theaster Gates, Rebuild and Bemis reimagine North Omaha

©by Leo Adam Biga

Appeared in The Reader (


A once prominent but long vacant building in Omaha‘s African-American hub is now reborn thanks to catalysts bridging the divide between need and opportunity.

The former Carver Savings and Loan Association at 2416 Lake St. was Omaha’s first black-owned financial institution. The lender helped black families avoid red lining practices to become home owners. The newly restored site now houses Carver Bank, a combined artists residency, gallery and Big Mama’s Sandwich Shop. In its new life Carver will once again provide “homes,” only this time studio work spaces for North Omaha minority artists. It also means an area once rich in jazz and blues players will again be a haven for creatives.

The endeavor is the brainchild of Chicago-based artist-developer Theaster Gates, who partnered with his own Rebuild Foundation and the Bemis Center for Contemporary Arts in Omaha. Artist-craftsman Sean R. Ward led the construction. Volunteers from North High, Impact One and the FACT design lab at the Univerity of Nebraska-Lincoln assisted.

Gates repurposes vacant inner city spaces for new uses that support artists and engage community. He was brought to Omaha by the Bemis. The Carver Bank idea took shape after Town Hall listening sessions with stakeholders and city officials.

“On one level the city has a problem with vacant buildings and on another level there’s this tremendous need for space artists articulated,” says Gates.

Bemis chief curator Hesse McGraw says his organization’s artists residency history meshes well with what Gates does.

“The Bemis mission is to support artists,” McGraw says, “and Theaster’s ambition is to build up new infrastructures to support artists in places where artists had no support previously, specifically in black communities, in places disinvested or under-resourced.

“There’s so many places where capital has left but value still exists. I think North Omaha is such a place. If you look hard you find incredibly talented, creative visionary young artists that bring a lot of value to their surroundings but have no institutional support. We can support artists in a very focused and strategic way.”

Carver program coordinator Jessica Scheuerman says the project “discovers and recognizes emerging artists who maybe don’t have a platform or a space to present or produce their work.”

The venue’s seen as a harbinger of positive changes for a struggling inner city district poised for redevelopment. The hope is that Carver is a magnet for visitors.

The 24th and Lake intersection is ground zero for a projected arts-culture district. Players in the effort gathered for an Oct. 16 press conference at the adjacent Loves Jazz & Arts Center to announce the city’s $100,000 Our Town grant from the National Endowment for the Arts. Some of the monies support Carver and LJAC programming.

Carver’s the latest building block in what the Empowerment Network, the Greater Omaha Chamber of Commerce, the city and others envision as a revitalized 24th and Lake corridor. Loves Jazz is the anchor. The Union for Contemporary Art and its own artists residency program is a recent addition. The proposed centerpiece is Festival Square. Plans call for new Great Plains Black History Museum and John Beasley Theater facilities.




Theaster Gates



Gates described his role as “a catalyst or flux to help move things forward and to help deliver a product or opportunity,” adding, “We had to be really sensitive to the fact people made their own plans already for cultural life in the neighborhood and those plans have been approved.” He says he applied to Omaha “the body of knowledge we’ve gained from restoring buildings in Chicago and St. Louis” and a track record for getting buildings occupied and busy.

“Our mission is to be open, to be a beacon,” says Scheuerman. “We’re going to be a space people can reliably come to, where they can encounter the arts, get food from Big Mama’s and really count on us to be part of the social fabric of the neighborhood.

“The (artist) residents will have 24/7 access to their studios, so they’re going to be ambassadors of this project. They’re going to exhibit their work and be part of the community. We’re going to have programming that reflects and challenges and stretches the neighborhood. We’ll bring other elements of Omaha art here to have those cultural exchanges you wouldn’t necessarily imagine taking place on 24th and Lake.”

Gates says it’s all a result of identifying artists who need work spaces with small businesses wanting to grow into them. It required artists and the Bemis and the Empowerment Network and the Omaha Planning Commission to make this one modest intervention happen. But this modest intervention has the capacity to do all this other stuff.” He says he simply uncovered hidden potential and forged new partnerships.

“Sometimes I feel like the work I do is shining a light on the good things already there. It’s really about framing things. Then after a while the work doesn’t need me to do any light shining anymore. Other people will shine the light.  I just kind of rang the alarm. Now I think the only thing I have to offer is encouragement.”

The linchpin for the whole project, Gates says, was getting Big Mama’s on board.

“I think having Big Mama’s on the block is going to be huge. People come from all over the city to Big Mama’s. I can envision a lot of people being present who are not currently present on 24th and Lake. I think people might hang out and hanging out is super cool and leads to new friendships and to people to getting hungry and needing to use the bathroom and wanting to know what’s happening next door to the thing they came to.

“People are going to be curious about what’s happening at the Union and Loves Jazz and Carver. People who give to Bemis will have other places to land their generosity.”

He can imagine a larger impact that “will effectively model what culture looks like in North Omaha and that will create a desire for other people to model cultural activity there, which is the part that feels like catalytic work.”

He and McGraw feel Carver adds another element to a growing mix of arts attractions to drive traffic to North O.

“What I often find is that people don’t come to a place because they ain’t been invited or they don’t know something’s happening in that place,” says Gates. “Having these spaces that will have the occasion for people to come – I’m really excited about what that does.”


“I think the synergies are there and all these activities will be stronger in concert with one another,” McGraw says.

Gates believes all the organizations will benefit from working together informally or via a planned North Omaha Arts Alliance. He and Scheuerman say the Bemis provides strong backing. “The Bemis has got reach, history, reputation,” says Scheuerman. “It’s a huge benefit to have that type of infrastructure.”

McGraw expects Carver and its companion attractions are just the start:

“It’s taken a long time to get there but maybe that is a metaphor or analogy to the neighborhood on a larger scale. There has been a lot of small conversations happening and a big vision produced and now is a moment when the city is starting to see aspects of that vision come to life in a tangible and exciting way. When the pieces start to come together in a coordinated way you really begin to see there are huge possibilities within this neighborhood. It’s very exciting for us to be centered around artists and culture, not even so much in a historic or nostalgic way, but in a contemporary and real time way.”

Scheuerman sees mentoring possibilities for aspiring artists and arts managers. Gates sees skilled wood and metalworkers training apprentices to fabricate interiors for new eateries as part of emerging “cultural economies.”

The Carver hosted a December 1 open house as part of the Christmas in the Village celebration. Gates is expected to partcipate in more Carver open house events this month leading up to the project’s anticipated January 2013 launch.

For more about the artist residency program and the Carver project, visit

Finding the Essence of Omaha in All the Right Places Leads You to Obvious and Obscure Sites

June 28, 2012 5 comments

Whether you’re a Omaha resident who lives here year-round or part of the year, a native returning home, or a visitor here for the first or tenth time, it doesn’t hurt to be reminded of some places to see and things to do in the metro.  I prepared the following list for the Omaha World-Herald a few years ago.  At least one of the attractions is now defunct (Project Omaha) and if I were making a new list today I would include some additional sites (including the House of Loom and TD Ameritrade Park).  The point is, it’s by no means a comprehensive list but more of a sampler of, as the headline says, some of the obvious and not so obvious sites to check out.


Mormon Trail Center



Finding the Essence of Omaha in all the Right Places Leads You to Obvious and Obscure Sites

©by Leo Adam Biga

Originally appeared in the Omaha World-Herald

Loves Jazz & Arts Center



Loves Jazz & Arts Center
2510 No. 24th St., 502-5291
Steep yourself in Omaha’s rich African-American heritage through photographs, videos and other art/historical materials at this gem of a cultural center in the heart of the black community. See displays on the music and civil rights legacy of black Omaha. Catch lectures, panel discussions, poetry slams, live music jams, film screenings and other educational-entertainment programs.

Project Omaha
South High School
4519 So. 24th St., 557-3640
Reminiscent of a visit to grandma’s attic, this one-of-a-kind museum in a public school setting uses artifacts along with student-made videos, books, games and other resources to explore Omaha history, including the stockyards. The collection’s size and depth will impress. Note the Brandeis department store Xmas window mockup. Call 557-3640 for a visit or a guided tour of historic city sites.



Jewell Building





The Jewell Building
Omaha Economic Development Corp. offices
2221 No. 24th St.
This National Register of Historic Places and Omaha Landmark designee was home to the famed Dreamland Ballroom, hosting scores of jazz/blues performing legends and overflow dance crowds. Now the offices for the Omaha Economic Development Corp., the restored Georgian Revival building features a large photographic display of those halcyon Dreamland nights of Basie, Ellington and more. A North O shrine.



Nebraska Jewish Historical Society



The Nebraska Jewish Historical Society
Jewish Community Center
333 So. 132nd St., By appointment at 334-6441
Photographs and archival documents depict Jewish life in Omaha from the turn of the last century through today. Special collections highlight the Jewish American experience of local merchants, war veterans and figures of national prominence, including Henry Monsky and Rose Blumkin. Print/video interviews reveal an Omaha Jewish community that was once much larger but that remains vibrant.

Cathedral Cultural Center and the St. Cecilia Institute
St. Cecilia Cathedral campus
3900 Webster St., 551-4888
The history of Omaha’s Catholic archdiocese and its cornerstone edifice, St. Cecilia Cathedral, is revealed in artifacts, photos and interpretive panels. The life and work of Thomas Kimball, architect of the Spanish Renaissance worship site, is well-chronicled. The center, located just east of the church in midtown, presents temporary art exhibits, lectures, receptions and other programs. Free admission.



Cathederal Cultural Center



El Museo Latino
4701 1/2 So. 25th St., 731-1137
National touring art exhibits complement a Latino Presence in Omaha section with photographs-narratives drawn from local community founders and elders. Listen to these pioneers’ oral history interviews in Spanish or English. Learn how the current Latino immigrant wave echoes earlier migrations in transforming Omaha. The El Museo Latino building was the former Polish Home and the original South High.

Durham Museum
801 So. 10th St., 444-5071
The former Union Station is a beautifully appointed, restored Art Deco railroad terminal now home to interactive Omaha history displays and major touring shows. The Smithsonian affiliate and National Register of Historic Places site exhibits train cars and engines and a model layout of downtown’s U.P. yards. Enjoy lectures, discussions and films. The Durham also holds the Bostwick-Frohart collection’s 8 X 10 view camera photos of early 20th century Omaha.



Durham Museum



Sokol South Omaha
2021 U St., 731-1065
Omaha’s ethnic enclaves celebrate their own and the Czech community is no different. Aside from the classic gymnastics program that’s part of any Sokol facility, this site maintains a museum featuring photographs and other memorabilia related to the nearby Brown Park neighborhood as well as local Sokol history, Czech traditions and leading Omaha Czechs. Tours by appointment at 731-1065.

Joslyn Castle
3902 Davenport St., 595-2199
Built on a 5.5 acre estate this ornate Gold Coast home of George and Sarah Joslyn reflects the grandeur of early Omaha. The John McDonald-designed 35-room Scottish Baronial castle, now being restored in all its splendor, features exquisite mosaic tiles, in-laid woodwork, a ballroom and a conservatory. A splendid backdrop for teas, receptions and dinners, the mansion’s an Omaha Landmark and National Register of Historic Places site. For tours and rentals, call 595-2199.

Joslyn Art Museum
24th and Dodge, 342-3300
Sarah Joslyn’s magnificent memorial to her entrepreneur husband, George, opened in 1931. Designed by John and Alan McDonald, with a 1994 Norman Foster addition, the stunning Art Deco temple showcases a comprehensive permanent collection. Enjoy exhibits, lectures, concerts, films and tours. The new sculpture garden provides a major new attraction. The pavilion atrium is a popular gathering spot.




Joslyn Castle

Joslyn Art Museum



Douglas County Historical Society
Metropolitan Community College Fort Omaha campus
30th and Fort
Library/Archives Center
Discover a vast repository of history pertaining to the city of Omaha and to Douglas County through archived newspapers, clipping files, maps, plats, atlases, documents, diaries, letters, books, artifacts, photographs and audio visual materials. Located in Building 11A on the historic MCC Fort Omaha campus. Call 451-1013 to schedule research visits.

General Crook House Museum
The restored 1879 Italianate quarters for Indian Wars campaigner Gen. George Crook includes Victorian era decorative arts, costumes and furnishings. Classes and a reference collection on the history/appreciation of antiques are available. Tea aficionado Mona Christensen hosts proper teas. Call 455-9990 to arrange tours or private functions. Located in Building 11B on the historic MCC Fort Omaha campus.

Gen. Crook House



Orsi’s Italian Bakery
621 Pacific St., 345-3438
It’s a bakery/pizzeria not a gallery but walls of family and neighborhood photos depict Omaha’s Little Italy section through the years, including Santa Lucia festivities, Mason School graduation classes and local Italian-American sports icons. Orsi’s is an anchor business in the trendy nouveau residential urban community emerging in this historic district south of the Old Market.

Omaha Central High School
124 North 20th St., 557-3300
Omaha’s oldest all-grades public school dates back to 1859 but the stately National Register of Historic Places building on Capitol Hill was completed in four phases from 1900 to 1912. John Latenser’s Renaissance Revival design included an open courtyard. This school known for academic rigor boasts many distinguished grads. Exterior markers note the school-site’s rich history. Call 557-3300 to arrange viewing interior displays.

The Omaha Star
2216 No. 24th St., 346-4041
Since 1938 the Omaha Star newspaper has carried the collective voice of the local African American community in calling for equal rights and decrying bias. A beacon of hope on North 24th Street, the Star was a mission for its late founder and publisher, Mildred Brown. The apartment she kept in back has been preserved just as she left it. The National Register of Historic Places building is undergoing restoration.

Boys Town Hall of History
132nd and Dodge, 498-1300
The story of this fabled American institution is told in audio, video, artifact displays. Learn how Rev. Edward Flanagan’s original home for boys grew into a childcare leader at satellite campuses across the nation. See how the school’s band, choir and athletic teams helped put Boys Town on the map. View the Oscar Spencer Tracy won portraying Flanagan in the 1938 movie, Boys Town. Marvel at the many notables who’ve visited the Omaha campus.

Orsi’s Italian Bakery
Omaha Central High School
The Omaha Star
Boys Town Hall of History



W. Dale Clark Library
215 So. 15th St., 444-4800
Omaha history can be found in hundreds of books and videos as well as in decades-worth of local newspapers on microfilm. Inquire about Omaha history talks.

Omaha Community Playhouse
6915 Cass St., 553-0800
The Omaha Community Playhouse represents a significant portion of local live theater history. The original site at 40th and Davenport is where legends Henry Fonda and Dorothy McGuire got their starts on stage. At the height of their stardom they returned for benefit performances of The Country Girl that raised money to construct the current Playhouse, which contains a collage of famed players who’ve trod the boards there.

Livestock Exchange Building
4920 So. 20th St.
For nearly a century the Omaha Stockyards and Big Four meatpacking plants ruled the roost. The hub for the booming livestock market was the 11-story Livestock Exchange Building, an example of Romanesque and Northern Italian Renaissance Revival design. The stockyards are gone but the National Register of Historic Places structure lives on as an apartment-office site. The grand ballroom still in use today. Historical monuments outside the building describe its lively past.

Ford Birthsite and Gardens
32nd And Woolworth Ave.
Markers and descriptive panels commemorate the birthsite of the 38th President of the United States, Gerald R. Ford, who was born Leslie King on July 14, 1913 in a Victorian style home at 3202 Woolworth Avenue in Omaha. The surrounding gardens in honor of former First Lady Betty Ford make the spot a popular choice for weddings, receptions and other events.

Gerald R. Ford Conservation Center
1326 So. 32nd St., By appointment at 595-1180
In addition to dedicated laboratories for examining, evaluating and conserving historical and art materials, the facility features a small exhibition on President Gerald R. Ford. The center’s state-of-the-art facilities include a microscopy laboratory and a digital imaging laboratory. There’s also a library of reference works on conservation and collections care.

Nebraska Black Sports Hall of Fame
Boys & Girls Clubs of Omaha, North Unit
2610 Hamilton St.,  North BGCOO 342-2300, NBSHF 884-1884
Until a permanent structure is built a wall of descriptive plaques honor Hall of Fame inductees, whose ranks rival that of any state athletic hall in the country. We’re talking history-makers in Bob Gibson, Bob Boozer, Gale Sayers, Ron Boone, Marlon Briscoe, Don Benning, Johnny Rodgers and many more. Looking at the names and achievements arrayed before you a story of staggering dimensions emerges.

Malcolm X Memorial Birthsite
3448 Pinkney St., 1-800-645-9287
The struggle to build a brick-and-mortar memorial to the slain activist is symbolized by the stark 10 acres of land the Malcolm X Foundation has been trying to develop for decades at his birthsite. Only a simple sign marks the spot. Paving stones lead to nowhere. A fence encloses an empty lot. Dreams for a visitors center, museum and plaza remain deferred. A most forlorn National Register of Historic Places site.

Prospect Hill Cemetery
3230 Parker St., 556-6057
Omaha’s oldest cemetery was founded in 1858 and is the internment site for many early city leaders, their familiar names still adorning streets and structures today. Some notorious figures also lie there. Often referred to as Omaha’s pioneer burial ground, Prospect Hill remains an active cemetery as well as a historic site open for visitation daily. A state historical marker describes its rich heritage. Free admission.

Gerald R. Ford Birthsite and Gardens
Prospect Hill Cemetery
Malcolm X Memorial Foundation



Mormon Trail Center at Historic Winter Quarters
3215 State St., 453-9372
A heroic, tragic chapter of the Mormon Migration played out in what’s now north Omaha when thousands of Church of Jesus Christ of Latter-day Saints spent the winter of 1846-1847 in an encampment. 325 died there. An audio-visual display details the struggles encountered in reaching this Winter Quarters, the camps’s harsh conditions and the arduous journey to the Salt Lake Valley. View a pioneer cabin, pull a handcart and visit the Mormon Pioneer Cemetery. Free admission.

Lewis and Clark National Historic Trail Headquarters and Visitor Center
601 Riverfront Dr., 661-1804
Learn about the historic Corps of Discovery expedition led by famed explorers Lewis and Clark, including information about sites along the trail. A National Parks Service ranger can answer questions and help you plan a site trip. The Riverfront Books store offers an array of educational materials for sale that can enhance your experience on the trail.

Union Pacific Railroad Museum
200 Pearl St., Council Bluffs, (712) 329-8307
Artifacts, photos and interpretive panels chart the development of the transcontinental railroad and its role in helping pioneers settle the West. View displays about the heyday of passenger travel and innovations made by the nation’s largest railroad, Union Pacific, which is headquartered in Omaha. The museum’s housed in the Bluffs’ historic, newly restored Carnegie Library.

Historic General Dodge House
605 3rd St., (712) 322-2406
This restored 1869 Victorian home was the residence of Civil War veteran and railroad builder Gen. Grenville M. Dodge, a military, political, financial wheel whose counsel was sought by presidents. The 14-room, 3-story mansion commands a terrace view of the Missouri Valley. Note the exquisite woodwork and “modern” conveniences unusual for the period. The home is used for a variety of receptions and other events.

Western Historic Trails Center
3434 Richard Downing Ave., Council Bluffs, (712) 366-4900
Discover the history of four historic western trails — Lewis & Clark, Oregon, Mormon and California — through exhibits, sculptures, photographs and films at this State Historical Society of Iowa center designed and built by the National Park Service and local partners.



Union Pacific Railroad Museum

North Omaha synergy harkens new arts-culture district for the city

June 26, 2012 19 comments

There’s a magazine published in Omaha called Revive!  It’s put out by a couple, Willie and Yolanda Barney, as a very intentional positive framing of the best of what is now and what is to come in North Omaha, by which they and most folks here mean northeast Omaha, which is the traditional heart of the city’s African-American community.  That heart has been hurting for decades due to disinvestment and crushing poverty and it’s only in the last few years and looking forward now that there’s come to be a concerted focus on finally revitalizing that area in a profound way.  Progress is being made in some sectors but there’s a long way to go yet before a fundamental, sweeping change comes to fruition and all boats are lifted with the tide.  The following story is about the stirrings of change in a historic hub, North 24th Street, that long ago fell on hard times and is looked at today as a cornerstone for the planned rebirth.  An arts-culture district is to arise in what was once the epicenter of a vibrant live music and entertainment scene with all the trimmings – dance halls, clubs, restaurants, stores, movie theaters, you name it.  It isn’t much to look at or partake in yet, but it could very well be in short order.  The potential is there.  Some of the pieces are already in place.  More are on the way.  It’s my hope that in a decade’s time the rebirth will no longer be a fond desire or enticing plan but a reality.  My story will soon be appearing in The Reader (

This is what much of the district looks like now



North Omaha synergy harkens new arts-culture district for the city

©by Leo Adam Biga

Appeared in The Reader (


The days when North 24th Street jumped with folks out on the town, strolling the main drag, hitting one live music spot after another, are decades past.

Aside from biennial homecoming activities, North 24th is a drive-through artery on the way to somewhere else. Few souls trod its walkways. If people do stop it’s for Sunday sanctification, a haircut, a fill-up or some social service business.

There’s little else to see or do. Food options are mostly confined to the fast variety and dingy bars pass for nightclubs. Vacant tracts of land abound.

But a welling synergy of activity promises to once again bring people in numbers to the “Deuce-Four” for entertainment. It’s the fledgling start of the arts-culture district designated in the city-approved North Omaha Village Revitalization Plan.

A couple pieces are in place. One is under construction. Others are on the drawing boards. The revival isn’t in full swing yet, but there’s enough happening to give a glimpse of what could be.

The existing pivot points are the Loves Jazz & Arts Center, Union for Contemporary Art and Great Plains Black History Museum. An emerging player is the as yet unnamed fulfillment of the two-year long Theaster Gates Town Hall Project in the former Carver Savings & Loan Association building.

John Beasley is eying property in the area for a new theater. Other envisioned digs include a movie theater, large music venues and artist live-work spaces.

Historic anchors with strong community orientation have their own roles to play. The Omaha Star newspaper is a conduit for community happenings. The Omaha Economic Development Corporation and the Empowerment Network, housed in the Jewell Building where the Dreamland Ballroom held sway, are driving redevelopment efforts and sponsoring events.

Seasonal attractions are part of the scene, too. The North Omaha Summer Arts Festival is in year two, though most of its events happen on North 30th. The expanded Juneteenth celebration centered last month’s activities on 24th, where the Dreamland Plaza hosted outdoor concerts. Last year’s Christmas in the Village drew hundreds to venues up and down the street.

The LJAC at 2510 No. 24th is by far the area’s most established attraction. The gallery, live music and rental spot has come into its own after a rough patch. Executive director Tim Clark sees the makings of a destination district about him. “The stars are aligning with all that’s going on with the Union, the Bemis, the black museum and the Loves Center. I think people are ready for it.”

Loves Jazz & Arts Center




The center, whose membership has risen from 8 to 300-plus in two years under Clark, is seeing more visitors to national traveling exhibits, including the current Selma to Montgomery. Special programs, from a gospel play-soul food buffet to a fashion show, draw well. Events like a recent Family Day and Arts-Culture Expo found new audiences. Its Jazz After Five series owns a loyal following.

The idea is that as more stay-and-play venues open around the center and offer  activities people will make a night of it by sampling the attractions, thereby dropping more traffic and dollars into a community starved for commerce.

“We’re trudging along and as we ramp up hopefully it’ll catch on,” says operations director Janet Ashley. “We’re all in this together, we’re very supportive of each other.”

Returning the area to a walking neighborhood is partly about overcoming perceptions, say Ashley and Clark, that the area is unsafe, which they insist it’s not.

“Being able to walk from one location to another is hugely important to the sense of vitality of the neighborhood.,” says Hesse McGraw, chief curator of the Bemis Center for Contemporary Arts, a partner in the Gates project.  “The idea that you could come to a Jazz After Five at Loves Jazz and then walk to a opening at the Carver and then walk to an open studio or something at the Union, that’s a pretty dynamic thing.”

As events multiply and more patrons discover the area’s diamonds in the rough, not unlike North Downtown a few years ago or the Old Market a few decades ago, a critical mass of sit-down restaurants and retail outlets may join the party.

Around the corner from Loves Jazz a combined storefront eatery and art space is taking shape. Chicago-based artist and planner Theaster Gates, along with Rebuild Foundation of St. Louis, Mo, and the Bemis, is bringing new life to adjoining sites at 2416-18 Lake St. to house a Big Mama’s sandwich shop, three artist studios and a gallery.

For Patricia Barron, whose Big Mama’s Kitchen & Catering on No. 45th St. is one of northeast Omaha’s few destination spots, contributing to any revival is personal. Her father Elmer “Basie” Givens was a band leader when 24th jammed day and night with music and action.

“I can remember when 24th St. was just flowing with activity and so I’d like to see that restored, the arts, the music, theaters, stores, because this is my birth city and I love Omaha. We’re very excited. It’s been dormant for too long.”

Carver Building (right) and adjoining building to house the Theaster Gates project with a sandwich shop, artist studios and gallery
Theaster Gates



McGraw says the art side of the site aims to be a launching pad for North O artists of color and a catalyst for more activity. He describes “an emerging excitement about a set of possibilities burgeoning in the neighborhood,” adding, “I think there’s an interest from the city’s perspective in imagining what could happen on that block west of Loves Jazz, where the city owns a lot of property.”

He says the area’s potential as a lively arts haven could be enhanced by a North Omaha Arts Alliance. Deborah Teamer Bunting, Heritage Arts Manager with the Nebraska Arts Council, is working with the Empowerment Network on formalizing the alliance by year’s end. She says shared resources could help joint funding and marketing efforts.

Clark, who’s hosting informal meetings with his arts neighbors, also sees the benefits of “this coalition” working together moving forward.

It doesn’t take much imagination to see the stirrings of a vibrant arts community,” says McGraw.

“I think the synergies are there and all these activities would be stronger in concert with one another.”

Bunting says it’s already “one of Omaha’s best kept secrets” and “its own unique community building on some of the history of North Omaha.”

A block south The Union is poised to be a destination. It hosts artist-in-residence studios and community projects, such as the North Omaha Tool Library formed by Kjell Peterson, at its 2417 Burdette St. site.

It seeks funds for the adaptive reuse of the adjacent Fair Deal Cafe as a gallery, lecture space and art library. The Fair Deal was THE Omaha soul food joint. So much social-political discussion happened there it was called the “black city hall.”


Brigitte McQueen



“We’re hyperaware of the fact that building has so much significance to this community and anything we do over there will be so respectful of that,” says Union founder-executive director McQueen. “I’m hoping people will be excited to see it used again and returned to a state of glory.”

This summer The Union is planting communal gardens and erecting an elaborate gazebo, all part of finishing out its multiuse campus.

“There will be seating, no gates, no fences, no nothing. It really is meant to be of the community,” McQueen says of the gardens-gazebo. “It’s creating an oasis that will always keep on the property and not build over that land.”

Urban agriculture is one of The Union’s many missions..”If we’re sustaining people visually and emotionally with the arts,” she says, “then we also need to be giving them an opportunity to grow food that sustains them in a better way.”



The Union for Contemporary Art



McQueen saw the area’s potential synergy May 31-June 1. That’s when a Great Plains Theater Conference play staged in the Union parking lot, with the Burdette building’s west wall as painted backdrop, drew hundreds, including area residents and workers. The sounds of traffic whooshing by and kids playing hoops across the street added “perfect” ambience to the urban-set play The Crowd Youre in With.

The Union and GPTC plan more collaborations.

Conference producing artistic director Kevin Lawler says, “The arts are one of the most live giving, healing, growth enhancing, healthy activities for a community, and this is a part of the city that has not had enough energy from the arts. So I want to work with groups like the Union to help to change that.” A youth theater program is in the works.

Additionally, the Union is developing an art-based after school program and a North Omaha murals project involving area youth.

“I think once kids and their parents start coming to the building that will help us get established,” says McQueen.

As more has been happening there, she says, the curiosity factor already has neighbors, including kids playing hoops at the Bryant Center courts, “coming over and asking questions…oh, so many questions,” says McQueen. “They’re excited to hear we’re doing art stuff over here.”

The Bryant Center Association operates organized leagues at its open basketball courts as well as programs for seniors and youths at neighboring St. Benedict the Moor Church. Funds are sought for a proposed anger management and life skills program. The focus is on giving kids positive, structured diversions along with mentoring, tutoring and counseling.


Bryant Center



Jean Cain, who helps runs things at the Bryant, has noted the Union’s activities and sees potential collaboration with McQueen’s programs.

“I’m very grateful for her, I really and truly am. I do want to make that acquaintance because I do think there’s a partnership or a marriage that could be an ongoing thing.”

The Union is new enough and the Carver opening far enough away that even most Bryant volunteers and area residents don’t know about the organizations yet. That will take time. The Theaster Gates site will feature a glass front entrance and a Big Mama’s outlet to make a transparent and enticing “invitation” for the community to come check it out, says McGraw, He says it’s all part of a “radical hospitality that makes spaces welcoming by reaching out in a charismatic and gregarious way. It’s this idea of having a thrown open front door, a place where there’s no expectations about who belongs there – there’s too few places like that.”

The black museum has a different challenge. It’s a well-known quantity that goes back to the mid-1970s but until monies are found to renovate its condemned home at 2213 Lake St. and/or to build a new one, it operates as a mobile presenting organization. It recently brought three Negro Leagues Baseball Museum exhibits to the metro, including two at Conestoga Magnet School not far from the 24th hub.

A mile or so southwest of the hub the Malcolm X Memorial Foundation has recently staked itself as an anchor with year-round programming at its new center.

Tim Clark and Brigitte McQueen say organizations like theirs are seeds that can grow roots that blossom into perennial attractions. But for that capacity building to take place resources are needed for more professional staff, among other things.

For all these disparate parts to form an effective, concerted North O mosaic or cohort that engages the general public, Clark says they must find sustainable support. He suggests a much larger pool of money than is presently available through funding mechanisms like the North Omaha Cultural Arts Committee is necessary to support the arts-culture district’s growth.

The catalyst effect Gates hopes to have with his project, which the Bemis is providing full financial support to for three years, can work the other way, too.

“There are new initiatives that are about to get off the ground in North Omaha that are really going to begin to change the game,” says McGraw, “and I think Theaster and Rebuild Foundation have a real interest in being part of those efforts. I think there are extremely exciting things on the horizon.”

Color Me Black, Artist Francoise Duresse Explores Racial Implications

June 17, 2012 2 comments

The best art is provocative in that it engages you to think outside your comfort zone and to consider new truths.  That’s certainly the case with the work of Francoise Duresse, who makes you think about race and personal identity in semi-autobiographical series that explore the implications of skin color for herself as a dark-toned black woman in a world of lighter shades.  I wrote this story a few years ago when an exhibition of her work ran at the Loves Jazz & Arts Center in Omaha.



Paper bag test case study #4 and #1, ©Francoise Duresse



Color Me Black, Artist Francoise Duresse Explores Racial Implications

©by Leo Adam Biga

Originally appeared in The Reader (


As any person of color will tell you, the politics of race brands racial minorities with stereotypes that serve to isolate, diminish and exclude them.

In America perceptions of what it means to be black or to be a particular shade of black, for instance, carry the baggage of history and popular culture. Distortions abound. Media portrayals reinforce certain stereotypes.

Artist and University of Colorado art instructor Francoise Duresse, a native Haitian who’s lived and worked all over the world, has navigated societies that use skin color as a basis for stratifying, classifying people in caste systems. Her experience of “differentness” and her search for “personal identity” as a stranger in strange lands is something she often explores in her art. She looks at how “colorism” has and still does act as a litmus test for inclusion-exclusion, acceptance-denial.

That’s the case with her mixed media works on view now through July 24 at Loves Jazz & Arts Center. “Feeling separate” amid a majority population that doesn’t look like you is a powerful vantage point for any artist. Selections on display from two Duresse series, Queen Nappy, the Place from which I Come and The Paper Bag Test, examine the issue of black identity and image within the context of society, media, peers, heritage and ethnicity.

As her work illustrates, what’s bound up in one’s blackness is a complex question. Implicit in her pieces is an acknowledgement that certain assumptions made about blacks and certain attributes ascribed to them are not just race specific but hue specific. Her proposition is that Eurocentric, whiteness models make light skin more acceptable than dark skin across the racial spectrum.

These perceptions cut both ways, affecting not only how others see blacks but how blacks see themselves. Anecdotally, it’s well-known light-skinned people of color traditionally fare better than their dark-skinned counterparts when it comes to jobs, promotions, grades, appointments, memberships, invitations, customer service, et cetera. Duresse takes into account the burden of such realities.

Her Paper Bag Test refers to a once prevalent and still “hush-hush” practice of allowing or denying entry to public places based on skin color. Persons lighter than a grocer’s brown paper bag, she notes, “pass,” while darker hued individuals “fail.”  Her point is vestiges of this color coding extend to all kinds of situations or settings and remain fixed in people’s minds. It informs societal, cultural, institutional racism.

An image of herself as a child and another as an adult literally adorn a string of paper bags, the portraits colored from lily white to jet black and all the gradations in between. Each time her face darkens it grows less distinct, a reference to how people of color are perceived and can become invisible before our eyes. The final adult portrait is abstracted beyond human recognition, into what appears a heavy garment — perhaps a comment on the weight of perception one‘s subjected to.

Several Duresse works use motifs to comment on the minimalization, fragmentation and objectification that attend moving through life as a person of color. For example, she variously underlays and overlays a silhouette of her adult self or a painted image of her “audacious surrogate,” Queen Nappy, with minstrel, blaxploitation images culled from advertisements. In a series of these paintings her alter ego is ever more distorted and diminished by these intruding forces of myth and propaganda, until finally her portrait is utterly obscured. It’s a powerful rumination on the danger of losing one’s sense of self amid all the misinformation.

In other pieces she repeats a Polaroid of herself as a little girl, the skin tone varying from nearly white to pitch black, with every variation in between. These images are juxtaposed with a large foreground portrait of sober womanhood. The contrast of youth’s innocence and idealism with the hard bitten lessons of adult life offers an indictment of the colorized socialization process.

Some works echo each other. One presents a sea of diverse yet distinctly African-American faces. Another pictures the same faces, only now commingled, perhaps diffused through enculturation. In another, a collage of these faces surround and underlay the portrait of an adult female — a comment perhaps on how a woman of color is an assemblage of many fragments, strains, features, hues. A stunning work entitled Blue Eyes pictures the artist as a fully bloomed woman — her face comprised of different hued images of herself as a girl, an evocation of how she embodies a lifetime of perceptions, influences, experiences.

Inner City Art Exhibition Tells Wide Range of Stories

September 1, 2011 10 comments

Here’s another art story about some African-American artists in Omaha. I did the piece a year ago or so for The Reader ( in conjunction with an exhibition at the Loves Jazz & Arts Center. Some talented folks had work featured in the show and due to space considerations I chose four to focus on. One of these, Gerard Pefung, is increasingly making a name for himself.
Inner City Art Exhibition Tells Wide Range of Stories
©by Leo Adam Biga
Originally published in The Reader (

Loves Jazz & Arts Center’s 4th Annual African-American Art exhibition, Telling Our Stories, displays work by some two dozen artists.

The stories of four of the featured Omaha artists follow.

Art saw Yolanda Williams, aka Ms. Yo, through an abusive childhood and early adulthood. Today, this accomplished single mom studying for her master’s in leadership still uses art as “therapy.”

Of her intuitive, self-reflexive approach, she said, “I get consumed with the emotion in the piece of work. When I’m painting I’m talking through my problems, I’m talking through my past. Every paint stroke for me is, OK, this happened, how do I deal with this?’I want every single thing to be based on what I’m going through. When I look at my artwork from when I first started to now I can chart where I was in my life.”

With “Enojado” (Spanish for angry) she flung paint on canvas to release the primal rage she endured with the death of her father and a bad breakup. “Serene” pictures a poised woman standing her ground, sure of herself. It represents self-affirmation. Said Williams, “I love who I am — as an artist, as a parent, as a professional, as a community leader.” “Ra” is her meditation on life, mood, energy, faith and her affinity for the warm orange glow of sun and spirit.

Williams mentors school kids through her North Omaha Youth Art and Culture Program. She also writes and performs music.

Gabrielle Gaines Liwaru, aka G. D’Ebony, infuses threads from her life — family, multiculturalism, social connectivity — in her work, which incorporates found objects.

“Tribute to Lila” is an acrylic portrait executed on an old projector screen she salvaged. The subject is her grandma Lila Gaines, “a pillar” for several generations of South Chicago family and community. Working from an old black and white image, Liwaru’s choice of gray, black and white for the skin palette and regal purple for the backdrop imbues the work with sweet nostalgia.

The mixed media “Human Frailty and Salvation: The Wheat Perspective” ruminates on the fragility, interconnectedness and renewability of sustainable resources, human and otherwise. “The Thaw” is a watercolor/mixed media ode to the rite of spring, as the frozen winter gives way to the free flow of life again. “I Am, I Was, I Shall Be” poignantly renders the dimensions of a young girl on the path to maturity.

Liwaru is an Omaha Public Schools art teacher. She and husband Sharif Liwaru are African Culture Connection board members.



Gerard Pefung, from, ©photo by Abby Jones



The dreamlike imagery of 20-something Cameroon native Gerard Tchofor Pefung  variously pays homage to the tribal culture of his homeland and to the urban environs of his adopted country. Vibrant color schemes, kinetic shapes and familiar rituals celebrate life. In “Farm Watchman” a villager’s thoughts commingle with the flame and smoke of a fire. In “Music Festival,” a saxophonist holds sway over a jiving crowd. In each, a conjuring and communion occurs. There’s a deep spiritual fervor and electric immediacy in the work.

Though often starting from a sketch, he said “when I go to put it on the canvas I just let the canvas be itself until the work is complete. I’m not in control of what it’s going to be. Sometimes I’m guided by personal life experience, or by music, or just by the aura that surrounds me.” He works in acrylic and mixed media but mostly spray paints. Pefung, who has a Hot Shops studio, does diversion work with kids to channel them from destructive graffiti to positive modes of expression. Part of the proceeds from sales of his art go to his foundation that supports young people in West Africa.

DeJuan Cribbs, whose day job is at Metropolitan Area Transit, produces “digital paintings” entirely on his home computer, working from found images or from memory. Trained in fine art and graphic design, he melds traditional and nontraditional styles. Many of his images, such as “Native Omaha Legends,” salute a gallery of hometown heroes, including Malcolm X, Ernie Chambers and Mildred Brown. “Native Omaha Days” is a shout out to the biennial heritage event and the family reunions it spawns.

Some of his graphic design prints are abstract but most are figurative, including straight up portraits, caricatures, anime-like imagery, poster art-inspired work and more fine art-like studies. When he uses color it pops with an intensity and richness that comes from deft layering. His non-color work has an engaging older aesthetic to it.

Besides loving black culture, Cribbs said he wants his celebrations of high achieving blacks to show youngbloods the possibilities for success. He hopes to produce a coloring book of black Omaha legends and a digital graphic novel set in urban Omaha.

Other works of note in the show, which continues through May 22, include: Wanda Ewing’s whimsical “Black Catalogue” embrace of ebony women; Sebron Kendrick’s funkadylic religious inconography; Bob Duncan’s stark black and white photos; Jason Fischer’s gangsta rap Pop photo art; and Tina Tibbs’ sublimely textured digital photo collages.

The LJAC is at 2510 No. 24th St. Call 502-5291 for hours. Visit

Art from the Streets

September 1, 2011 2 comments

I am not an art reviewer, but on occasion I am called upon to write about art, and in this case street art. My story for The Reader ( discusses an exhibition from a couple years ago at the Loves Jazz & Arts Center that focused on Art from the Streets. The idea by then LJAC administrative director Michelle Troxclair, who is an artist herself, was to give artists who don’t often get the chance to show in gallery settings an opportunity to present some of their work. I was captivated by most of what I saw. At least one of the four artists featured in the show is a genuine celebrity – mixed martial arts figher Houston Alexander. This blog contains a profile I did on Alexander.




NME Crew Omaha, ©photo by Ginkz


Art from the Streets

©by Leo Adam Biga

Originally published in The Reader (

Urban Pop Funk might best describe Art from the Streets at Loves Jazz & Arts Center. Curated by LJAC administrative director Michelle Troxclair, the exhibition highlights the work of four Omaha artists whose subject matter, approach and mediums reflect art trends emanating from the inner city.

Troxclair organized the show to give props to artists of color whose self-taught airbrush-graffiti-graphic art remains off-the-grid. By presenting it in a gallery she’s validating this grassroots “street” art and implicitly slamming elitists who dismiss it.

“There’s a bias in the art world as to what is fine art and what is not, and there are some art forms young people have been putting out there for some time that have just not been validated by the art world,” she said. “These art forms were born in urban communities and I thought our (LJAC’s) position in this community gave us a unique opportunity to put some deserving young people’s art out there.”

To represent this movement, she selected artists with made reps for keeping it real: Graphic artist-digital photographer Jason Fischer, aka, Ginkz; airbrush artists Bruce Briggs and Spot; and graffiti artist/hip hop ambassador Houston Alexander.

The street-themed opening included sports cars out front inked with the latest graphic design detail work and Alexander on site creating two original graffitos. Together with the stylings of spoken word artists and the featured gents talking about their work, you had a street salon thing going on.

Fischer, whose business is called Surreal Media Lab, makes visceral, cerebral, suave images for magazines, CD covers, web sites. His shots of urban desolation bring an edgy, social critique. “Wasted” is one of several Fischer pics dealing with notions of refuse. He turns a littered gutter grate into a poetic indictment of excess and waste. Cutting through the black and white is a Coke can caught up in the wash, a glaring red symbol for capitalism’s disposable, discarded flotsam and jetsam.

He likes strong contrasts. “Cross the Line” pictures a crumpled yellow crime scene tape. It’s an interesting take on these garish plastic artifacts of violent, often fatal crime scenes. What do they symbolize once an investigation ends? Are they merely debris or markers commemorating tragedy? Or talisman warning of danger?

His “Razor’s Edge” series makes near abstractions of barbed wire. Troxclair told this reviewer the wire’s a security deterrent outside a youth detention center. That information lends the images deeper meaning. Yet no panel-guide text notes the context or artist intent for any exhibit works, an omission that hurts the show.

Briggs displays amazing control, precision and artistry in his expressive airbrush portraits, some mixed with acrylic. His pieces range from lush, glowing, colorful reveries of iconic pop stars (Beyonce, Christina Aguilera, P. Diddy Combs) to intense, moody, interpretive glimpses — in muted black-gray shadings — of Mos Def and Miles Davis. The mesmerizing Davis portrait, “Miles Away,” captures the jazz great in the throes of creative brainstorm, fingering his forehead as if a horn.

Spot’s equally impressive riffs on pop stars are by-turns whimsical (Barack Obama as a hipster in “Ba Roc-a-fella”) and mythic (Scarface’s Tony Montana in “The World is Mine”). His stunning portrait “Tupac” raises the late rapper to Sinatra Cool status in a swirl of joint smoke framing the artist in all his fly machismo splendor. The dense, abstract-like “Blue Pride” reveals another aspect of Spot’s vision.

Alexander’s large canvas graffitos, propped up on concrete blocks, illustrate the viivid style of his box car, bridge, wall tags and murals. Fisher photos document some scrib handiwork. One, “Inner Workings,” depicts a mural on a brick wall whose gaping hole exposes interior piping, adding layers of texture and intrigue.

Aptly, Troxclair incorporates tools of these artists’ trade, including cans of spray paint, along with apparel they’ve adorned.



Artist Bernard Stanley Hoyes explores the lamentations and celebrations of Jamaican revival worship

August 28, 2011 5 comments

This is one of many stories I have filed over the years related to the Loves Jazz & Arts Center in Omaha and various programs and exhibitions there. The subject of this story from a few years ago for The Reader ( is the artist Bernard Stanley Hoyes and an exhibiiton of his work then showing at the LJAC.  I am not an art reviewer, and thus the pieces I do from time to time about painters and sculptors and photographers are written more from a profile perspective than anything else.  The center has presented many excellent exhibitions over the years that I have had the chance to see and cover, and in some cases I’ve interviewed the featured artists. Hoyes included.  On this same blog you’ll find more LJAC art stories, including one on Frederick Brown and another on collector/explorer Kam-Ching Leung. You’ll also find stories about the center’s namesake, the late jazz musician Preston Love.


Sanctified Joy, ©Bernard Stanley Hoyes



Artist Bernard Stanley Hoyes explores the lamentations and celebrations of Jamaican revival worship

©by Leo Adam Biga

Originally published in The Reader (


Spiritual rapture is captured in artist Bernard Stanley Hoyes’s Revival Series. The exhibition Lamentations & Celebrations on display now through March 10 at the Loves Jazz & Arts Center features oil paintings, lithographs and etchings from the series, in which the Los Angeles-based artist explores the Revival worship services of his native Jamaica. He spent a week in Omaha doing school residencies.

Hoyes uses lustrous colors, seductive swirls and overwrought figures to evoke the “spirit at that moment of crescendo.” A cathartic moment when light, sound, music, rhythm and emotion reach a fever pitch of illumination or exaltation, said Hoyes, standing amid his iridescent work on the walls at the LJAC. When he began the series 25 years ago he chose a clean color palette and lyrical line pattern for his dynamic series. “In order for me to attain spirit and spirituality in my pictures,” he said, “my colors had to be pure. I went about by using colors without really muddling or mixing or tapering them. It’s like a sequence of motion and I’m capturing the motion at different points, but at the peak of each sequence.”

His images of incantation, reverie and ritual take place in outdoor, night time gatherings brightened by the glow of candle light and supernatural incandescence,  where worshipers commune with their higher power in scenes at once solemn, joyful and eerie. There’s a power to the writhing figures caught in the spirit’s sway. The congregants worship en mass, buoyed by the communal beat of The Call.

He said, “The intention is to show where we gather our strength in all the trials and tribulations we have to endure. The strength comes from the commonality of our spiritual seeking. That’s one of the reasons I group the figures together and put them kind of like solid. They feel like one. You need all these bodies together to evoke the strength of what it takes to have a spiritual community.”



Flow with the Rhythm, ©Bernard Stanley Hoyes (the Lamentations and Celebrations of Jamaican Revival Worship) -“The intention is to show where we gather our strength in all the trials and tribulations we have to endure. The strength comes from the commonality of our spiritual seeking. That’s one of the reasons I group the figures together and put them kind of like solid. They feel like one. You need all these bodies together to evoke the strength of what it takes to have a spiritual community.":

Flow with the Rhythm, ©Bernard Stanley Hoyes



His own experience of Revivalism, an amalgam of Afro-CaribbeanChristian traditions, goes back to his Jamaican youth. His great aunt was a priestess and elder whose backyard was the site for many services. He witnessed the songs, chants, dances, drums, processions, channeling of spirits, ecstatic revelations. The sacred, the mystical, the strange. It frightened and fascinated him. It was inevitable his art would explore these altered states and this mediation of ethereal and terrestrial.

Long after he left the island for America, he returned to Jamaica to observe with the eyes of a mature artist the Poccomanian and Zion strains of Revivalism. In rediscovering his roots, he found an intuitive grasp of it all. “I started to realize I had an innate sensibility about these ceremonies. I knew them,” he said. “It’s like knowing Mass. You know the consecutive ceremonies and where they go. You know the hymns. You can recognize what that special ritual and special consecration is all about without being told. As I started investigating it I saw there were some things being lost over the years. Certain sentiments in the religion. The way there was pressure to get a formal church building, where before worship was conducted in holy sites throughout the countryside or in certain blessed yards.”

He noted, too, the introduction of technology, by means of electrical amplification, to what were all acoustic rites. The changes, he said, gave him an urgency to document a rapidly disappearing heritage.



Bernard Stanley Hoyes



Hoyes views his art as an expression of the spirit and the spirit of art. As a veteran of inner city life in Kingston and L.A., he knows the soul killing poverty and crime people of color face. He creates work for nontraditional spaces as offerings of peace and unity amid troubled tribes and times, like his murals and his installations of altars and tables in riot-ravaged neighborhoods.

“We have to move beyond those manic rages,” he said through “spiritual cleansing. We can then start anew, afresh. That’s why I think we’ve seen the pervasive Born Again rituals-religions in America. People see the need for that cleansing. We have to look for the rituals where we find them. Until we do that we become captive to the oppressive nature of urban violence and all the other manic depressive things that go on in our community.”



Moonlight Spiritual S/N by Bernard Stanley Hoyes 22"x32" Art Print Poster

Moonlight Spiritual S/N, ©Bernard Stanley Hoyes



Art, he said, can be part of “the healing process. It has to be about something that’s pervasive, that everybody can link their spirit to.” His Revival Series, informed by Jamaican and African American rites, is a resplendent multi-faith expression of praise and worship, call and response testifying. “It covers the whole gamut of Western Christianity with the African influence in it,” he said. Ever since his series struck a chord” a few years ago, his work has been collected by celebs like Oprah Winfrey, bringing thousands of dollars for originals and hundreds for prints. Why? “I think for the first time people with spiritual longing and spiritual connection see that part in it. They see the passion and the emotion of worship that is in the DNA of anybody that’s been to a Pentecostal or Baptist service.”

It’s about getting caught up in and overcome by the spirit. It’s what moved him when he began the series in a flourish of productivity. The spirit dictated “the style and motif and energy…the drive. One painting would beget the other — suggest the idea for the next,” he said, until he’d done 40 paintings in five weeks. “While I’m painting it becomes unconscious. It’s a classic inspired-work. That’s what it is.” He’s quit the series, but has always returned to it, finding the “inexhaustible” subject lends itself to “variations on a theme ” It numbers 500 to 600 works now. He means to retire the series with this exhibit, but suspects he’ll be drawn back to it again.

The LJAC, 2510 North 24th Street, is open Tuesday through Saturday from 11 a.m. to 5 p.m. Call 502-5315 or visit for more details.

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