Tag Archives: New Orleans

Mural Man

April 27, 2017 by
Photography by Bill Sitzmann

Visual artist Mike Giron’s creative life spans studio practice, teaching, and working with A Midsummer’s Mural and South Omaha Mural Project teams.

“In my studio work, I have no idea what’s going to happen—I just go. I’m not forcing or insisting on anything. The work creates itself in some crazy way,” Giron says. “When it comes to murals, it’s a lot more deliberate. You have to propose a design before you begin. So, I live in these two different worlds, and I think it’s keeping me balanced.”

The New Orleans native came to Omaha in the early 1990s by way of Colorado, where he met his ex-wife, an Omaha native. After her father died, the couple moved here with the intent of restoring her family home, selling it, and returning to Colorado. But Omaha proved a good place to raise their two children, so they stayed.

Giron, 45, taught art at Bellevue University and ran the campus gallery. Today, he’s a Metropolitan Community College adjunct instructor.

Without knowing it, he prepared to be a muralist through his experience painting Mardi Gras floats in New Orleans. Walls are not so different from float structures—they’re big and imperfect. And just as he used cut-out panels on floats, he does the same with murals.

“The Polish mural is the clearest example,” he says. “There was a downspout, a chimney, and a fence around an air conditioning unit, and we used cut-outs to hide those things. It gave a 3D pop-up look effect. It also breaks the frame to extend beyond the box of the building.”

Patience is a virtue for a muralist.

“Murals take a long time—maybe two months,” he says. “Unless you really practice your Zen, you’ve got to make it enjoyable to keep on doing it every day.”

The social contract of public art and the collaborative nature of murals means you’d better like people. He does. You’d better like working big, too.

“Once you experience large-scale production, it’s hard to go back to small paintings,” he says. “Although I still consider myself a studio painter, there’s also something about doing large work. You can’t help but see a wall and go, ‘Oh, that would be perfect for this statement.’ And then the physicality of the work feels good. You’re carrying stuff all the time; you’re up and down ladders. The brush strokes are not just a flick of the wrist.”

But Giron says the real reason he and his fellow muralists do it is because “we’re channeling the voices of people who can’t do this, and we take pride in that.” He says, “We feel good about delivering something that people feel does express them.”

The process for the South Omaha murals involves deep community immersion.

“The more you immerse and personally connect with the people on a street level, the more you’re going to be trusted by that community, and the more they’ll open up and allow you in,” he says.

The South O murals feature diverse looks.

“Some fall into naturalism, and others go into some other place,” he says, “That’s interesting to me because it’s not the same. Rather than a signature style, I would prefer they look like they were done by different people.”

They are. Giron works with Richard Harrison, Rebecca Van Orman, and Hugo Zamorano. Neighbors contribute stories and ideas at community meetings. Residents and students participate in paint days and attend unveiling celebrations.

The works are an extension of the new South Omaha Museum, whose director, historian Gary Kastrick, conceived the murals project. Giron serves on the museum board. He enjoys digging through Kastrick’s artifact collection and preparing exhibits, including a replica of an Omaha Stockyards pen.

The idea is for the museum, the murals, and Kastrick’s history tours to spark a South O renaissance keying off the district’s rich heritage and culture. Muralists like Giron share a bigger goal to “make Omaha a destination for public art.” He says murals are a great way to enhance the city’s visual aesthetic and to engage the community. Besides, he says, murals “demonstrate to the public there is an arts community here” in a visible way galleries cannot.

Giron is impressed by the Omaha arts explosion. “There’s so much going on and so many young artists hitting the scene making a big impact,” he says.

Meanwhile, he continues to create studio art. His series On the Brighter Side of Post-Apocalyptic Minimalism employed fire-singed materials to make their satirical marks.

“With the process-oriented stuff I’m doing now, there’s a huge amount of variety, even though I’m just using grids,” he says, explaining that his personal artworks have moved away from rules of perspective and representational dictates of realism.

“When you don’t use any of that, all you have is the process and the visual reality of things—line, shape, value, color, texture, and space,” he says. “When you start playing in that area, where there’s no limits in terms of defining what things should be or should look like, you find it’s actually inexhaustible.”

He intends to follow “the course of my curiosity,” adding, “If you are really free as an artist, then you just follow whatever’s interesting to you.”

New murals keep beckoning, though. “I get pulled into all this work. You set yourself up for a fall, but the fall is where all the good stuff happens,” he says.

Having completed Czech, Lithuanian, Polish, Mexican, Metropolitan Community College, and Magic City murals for the South O project, Giron and company are now working on a Croatian mural. Irish, Italian, African-American, and Stockyards murals are still to come.

Visit amidsummersmural.com for more information.

This article was published in the May/June 2017 edition of Omaha Magazine.

The Big Easy in the Big O

March 17, 2017 by
Photography by Bill Sitzmann

One of America’s great food cities, New Orleans, is steeped in history, culture, and fantastic flavors. From beignets to étouffée, the Southern city’s distinctive cuisine attracts food lovers worldwide. Perhaps the best way to satisfy one’s Cajun and Creole cravings is with a trip to N’awlins. But if that isn’t in your plans, a visit to Herbe Sainte offers a taste of the Big Easy without leaving the Big O.

The Aksarben Village cocktail bar and restaurant, which opened in late October 2016, is the creation of longtime restaurateur Ron Samuelson and his nephews, Aaron and Justin Halbert. For decades, Samuelson co-owned M’s Pub, the iconic Old Market restaurant that was destroyed in a January 2016 fire. His focus is now on Herbe Sainte and other new projects, including a French-focused eatery that he and the Halberts are working on.

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For Herbe Sainte, the trio took inspiration from the food and drink of the Crescent City. “New Orleans has a great cocktail culture,” Justin Halbert says. Seafood purveyors from several Gulf Coast states supply the restaurant with fresh shrimp, crawfish, and oysters. Halbert, who used to live in Florida, says seafood from the region, particularly Gulf shrimp, boasts exceptional flavor and texture.

Shrimp is the star of one of the restaurant’s most popular dishes, NOLA shrimp. One of a dozen items on the small menu, it features plump, succulent shrimp smothered in a rich, luscious sauce made decadent with cream, butter, and wine. It’s served with crusty French bread to sop up the sauce, which is sparked with a Creole seasoning blend for a palate-tingling heat. I would have liked a bit more spice, but I thoroughly savored each bite.

raw oysters

Executive chef Jeff Owen leads the kitchen, showcasing an appreciation for the nuances of New Orleans cuisine while putting his own twists on the classics. The shrimp roll features boiled shrimp lightly dressed with Cajun remoulade, lettuce, onion marmalade, and cornichon. Lack of breading and frying allows the shrimp’s firm, meaty texture and sweet, clean flavor to shine. We liked the filling but thought the bun needed to be warmed or toasted a bit.

Oysters are abundant in New Orleans and on Herbe Sainte’s menu. They’re available shucked and served on the half shell, as well as broiled. For non-seafood lovers, there’s muffuletta (a signature New Orleans sandwich stuffed with cold cuts, cheese, and olives) and a cornbread and sausage plate. It features sliced boudin (pork-and-rice sausage), mustard, pickles, slaw, two types of cornbread, and honey butter. The restaurant’s boudin has a soft, crumbly texture and was milder than I expected.

Enhancing the dining experience is a stylish interior with local artwork, modern-meets-rustic décor, and an eye-catching bar with custom wood shelving. Several couches, coffee tables, and armchairs invite guests to linger. The high-ceilinged space is intimate enough for date night yet lively enough for after-work cocktails. “We wanted it to be really eclectic,” Halbert says.

The establishment’s name comes from Herbsaint, an ingredient Sazerac cocktails.

The drink menu offers classic New Orleans cocktails, such as the Sazerac. Bold yet balanced, it includes brandy, Peychaud’s bitters, simple syrup, and the restaurant’s namesake, Herbsaint, an anise-flavored liqueur used as an absinthe alternative. The long, spacious bar provides plenty of room to whip up craft cocktails and develop house-made ingredients.

Together with their design team and bar and kitchen staff, Herbe Sainte’s owners have created a delicious, inviting spot to savor a taste of New Orleans and let the “bon temps” roll year-round.

 

 

 

 

 

 

Visit herbesainteomaha.com for more information.

NOLA shrimp

This article was printed in the March/April 2017 edition of Omaha Magazine.

Do You Remember?

December 30, 2015 by
Photography by Contributed by Douglas County Historical Society

It’s hard to believe the Ak-Sar-Ben Race Track and Coliseum has been closed for 20 years (the coliseum closed later, in 2002), as it was long one of Omaha’s iconic locations. Here is a brief look back on its long history.

The track was built in 1919 to underwrite the various activities of Omaha’s famous Knights of Ak-Sar-Ben, a civic and philanthropic group dating back to 1895 inspired by the various “krewes” of New Orleans’ Mardi Gras parades. Initially created to provide an alternative to the rougher entertainment then popular at the state fair held in Omaha, the Knights of Ak-Sar-Ben quickly expanded to supporting civic improvement projects, funding local charities, and overseeing various social events.
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The first race at the Ak-Sar-Ben track was an informal harness race on July 6, 1919. The track itself was not officially dedicated for nearly another year. That ceremony was held on September 14, 1920, with Nebraska governor Samuel Roy McKelvie officiating. At that time, admission cost 85 cents, and the track featured four harness and two running races every day.

In 1921, the racetrack expanded, adding a new grandstand at the cost of $400,000; that same year Nebraska created a racing commission and made pari-mutuel betting legal—the style of gambling favored by horse races, in which odds are not fixed until the pool is closed, allowing for a great variety of bets. You can bet that a horse will win, place, or show, or place even more complex bets, such as sweep six, in which the bettor must correctly pick the winner of six races. The more challenging the bet, the more the bettor stands to win.

The track built an adjoining coliseum in 1929, which quickly became Omaha’s premiere events center, serving as both an ice rink and a concert stage. Over its long life, the coliseum hosted many of the country’s most popular musical acts, acting as virtually a who’s who of changing tastes in music: The venue offered performances by Frank Sinatra, Elvis Presley, and Nirvana.

The track shut down from 1943 to 1945 during World War II. When the track opened again, on May 13, 1945, a crowd of 6,500 attended.

When a tornado struck Omaha in 1975, the race track was so close to its path that the twister was visible to people attending the races. The tornado carved a 10-mile path, killing three people, injuring 133, and scattering the debris of destroyed homes and businesses for miles. The total damage from the tornado, adjusted for inflation, was $1.1 billion, but the race track was mostly spared significant damage.

The track is often associated with a horse named Omaha, who won the Triple Crown in 1935. The horse had no relationship with Ak-Sar-Ben until retiring to Nebraska City, when he was sometimes paraded around the track. When he died in 1959, Omaha was buried at Ak-Sar-Ben, but in the intervening years, the exact site of the grave was lost to time and remains a mystery to this day.

Visit douglascohistory.org to learn more.

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Kat Fackler

June 12, 2015 by
Photography by Bill Sitzmann

This article originally published in the May/June 2015 edition of The Encounter.

No artistic director. No rehearsal director. No rules.

The women of Tbd never meant to upend tradition. But when the renegade collective of modern dancers got together last March, they accidentally dismantled a time-honored power structure that had, up to that point, mostly dictated their every flat back, tendu, and chasse.

If you ask them, they just wanted to keep moving.

“Everyone here wants to dance so damn bad that they’ll do just about anything,” says Kat Fackler, 25, one of Tbd’s many co-founders. “No one can stop dancing. No one can not do it.”

What’s more—and perhaps as a byproduct of their do-it-yourself attitudes and passion for modern dance—the collective has waged an almost guerrilla-style exhibition on the Omaha arts community, taking their dreamlike choreographies out of the world of dance and onto the oft-cramped cement floors of music venues and art galleries.

“We’d like to see modern dance have a much stronger presence here in Omaha,” Fackler says, reflecting on Tbd’s past performances with area bands and artists. “Rather than be a surprise that modern dance is going to be included on a bill, we’d like to see it as the main attraction.”

Tbd, or “To be determined”—a once-placeholder that barely saved the troupe from having to share their name with a meat salad (their insignia remains a small dish of salmagundi)—Fackler says, was the obvious step after their former leader, Maya Taylor, left for the more humid pastures of New Orleans. She says the comfort level between the 10 group participants was such that each dancer’s movements and artistic vision could be trusted in a more democratic creative process.

Jim Williams, 59, the former Midwest Correspondent of 25 years for Dance Magazine and a hobbyist dance photographer, has been documenting Tbd since its inception. Williams says he’s been involved in modern dance for a long time and senses something special about the eclectic troupe, which ranges in age from 20-somethings to 40-somethings.

“These are all people who are very trained and their technique is very good—so they’re actually worth looking at,” says Williams. “I admire them because they’re committed to doing the art form rather than just going for what you might call the lifestyle benefits of being able to say you’re an artist.”

For now, Tbd is concentrating on what they describe as their “main event,” which will take place on May 9 at Motion 41 Dance’s Encore space. The collective won a spot on the show through OMAHAgraphy, an annual national choreographer’s competition.

It’ll be just be one more way for Tbd participants to celebrate that side of themselves that has to keep moving.

“I don’t even know what I would do if I didn’t have this group to go to,” says Kara Gillmore, the self-described “old person” of the collective who has been dancing for over four decades. “It’s like my secret second world.”

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