By: Jared Stranberg
Featuring artists from across the globe, The KANEKO art museum in downtown Omaha exemplifies what it’s like to be human.
The exhibit, called “The Human Condition,” focuses on emotions and the ways we relate to the past and future of humanity. Subjects can vary from religion and politics, to more personal subjects like addiction and what parts of our personalities we let others see.
Sunkoo Yuh, an immigrant from South Korea, is one of the included sculptors. His work is a series of ceramic pillars and plates that display an amalgamation of imagery and mythology from both South Korean and American cultures.
One of the local artists featured in the exhibit is UNO’s very own David Helm. His portion of the exhibit discusses the faces we put on for others to see and the perceptions of others, their struggles and even their thoughts.
The exhibit also features some famous names. Jim Krantz, known for his famous “Epic Western” series featured in Marlboro advertisements in the 1980’s, has used that capital to switch to artistic photography. “The Ballad of Chernobyl” is a photography collection that features the people that remained in Chernobyl and the sort of post-apocalyptic peace seen in what was left behind.
In the next room you’ll find that the founder of the museum, Jun Kaneko, is also featured in the exhibit. Both a sculptor and a painter, his abstract art varies from drip paintings to seemingly shapeless sculptures.
On the second floor are four more exhibits. One of the most eye-catching is a monument to the 2016 election made by a kinetic wood sculptor named John Buck. Some of the most popular scandals and debacles of the current political era are featured, including Russian president Vladimir Putin, Stormy Daniels, President Trump, former NBA star Dennis Rodman, and North Korean dictator Kim Jong Un.
Some artists have a broader and less pointed political agenda. Viola Frey, another ceramic sculptor, focuses her work on the fight for women’s rights and the feminist movement after men returned from the war in the late 1940’s. A few feet from her work there are sculptures covered entirely in dollar bills, as artist Ken Little focuses less on power and more on greed in general American politics.
The last exhibit on the tour is Misha Gordin, a former native of the Soviet Union. The series is the artist’s way of honoring the death of his wife, who died tragically in a car accident shortly after his move to the United States.
The magpie, a common symbol for good luck in South Korea, is frequently found in Sunkoo Yuh’s work. 
Since roughly one third of South Korea identifies as Christian, Yuh included, Christian imagery is also prominent in Yuh’s work. This is his depiction of Jesus. 
Another large influence in Korean culture is the Korean war. In this portion of the sculpture Yuh displays a common American military Jeep and a gun barrel right next to it. 
Inside this ceramic head is a screen meant to display the thoughts of a person. Nobody can truly know the potentially beautiful thoughts from looking at the face of another human and looking them in the eye can only offer a glimpse. 
In the journey of addiction, recovery can sometimes be only temporary. This piece portrays an addict finally getting their head above the water, only to sink back down into the drowning waters of addiction. 
A contrast of the dismal decay of Chernobyl’s society and the beauty of nature retaking some of the abandoned land. 
When Chernobyl was evacuated, many literally dropped what they were doing, leaving things behind while fearing for their lives. Toys, instruments, and other everyday items can be found abandoned, unmoved for over 30 years. 
“My favorite photo to point out is this one. ‘The Man in the Coat.’ This was the very last photo he took in the series because the guy in the coat doesn’t like his photo being taken. After this happened, he beat up Jim [Krantz] to the point that he was on the edge of death and needed to be airlifted by helicopter out of Chernobyl.” – Samuel Bertino, Community Engagement Manager. 
When sculpting this piece, Jun Kaneko applied the art of kintsugi, a Japanese practice of repairing what’s broken with gold. Philosophically it is meant to represent the past damages in our lives, and how it makes the subject more beautiful for its history rather than masking it. 
Kaneko tends to make abstract art. This drip painting is the result of paint applied at the top of the canvas and allowing it to trail to the bottom, making it an act of nature rather than man. 
The entirety of John Buck’s work, in which many parts of the sculpture move in some fashion. The weathervane with dollar signs, Stormy Daniel’s whip, President Trump’s arms and the arms of the soldiers in the Trojan horse all move in some fashion. 
Leading the parade is Russian president Vladimir Putin carrying a tuba and the Kremlin as a hat. As the topic of Russian collusion appears to be at the center of the 2016 election discussion, Buck portrays him as the leader of this parade of madness. 
Trump in his tower with his right hand circling his temple and money signs spinning at the tip of the tower, Buck’s opinions of the current administration are made clear. 
Using pastel colors, these sculptures are simultaneously intimidating in size while also almost playful in color choice. Frey made this choice to indicate the idea of a wolf-in-sheep’s-clothing concept, as males appeared as superficially harmless while also overwhelmingly powerful. 
Coming in at roughly three thousand pounds and 14 feet in height, these massive sculptures are segmented to allow for easier transport. Frey deliberately made them this size to give the viewer an overwhelming sense of size and power. 
Named “Father” Ken Little makes a point on greed and politics. He made a metal frame supporting a paper mâché of one-dollar bills to depict a face with features from several U.S. president’s, including Carter’s head shape, Kennedy’s ears, and Lincoln’s facial structure. 
“Pledge” is designed to represent the people in power who are forced to apologize for doing something wrong, and how it’s less of a genuine apology and more of a desire to keep their wealth and power. This sculpture takes the idea of “clothed in wealth” and makes it literal. 
Angry at the sudden loss of his wife, Misha Gordin took photos of people shouting, realizing that the most emotion is present in the face right before the shout itself. 
