Bradley Sadler - Artist Top 5

Bradley Sadler – Artist Top 5

CG (1/5): Can you sum up this show in a few words?

Sadler: “I think this show can be summed up as being a bright and colorful celebration of the day-to-day.  A quiet blissful meditation on life here in Kansas.
Look, there’s a whole lot of darkness in the world. We all know that. We don’t need all of our art to remind us of that right now.  Sadness and darkness and despair and anger and regret. At home, down the street, on the news - it’s everywhere. We all see it every day. I want to bring a little bit of happiness into this world, a rectangle of color to help fight off the darkness.  These paintings are my way of saying, ‘Let’s be grateful for the little things.  Let’s be grateful for these quiet afternoons. Let’s celebrate these sunsets and these sunflowers and these hours we get to spend playing with our dogs.’  In a dark world, these things – these bright colorful quiet moments - are certainly worthy of celebration if you ask me.”

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CG (2/5): How did you become specifically interested in bright colors painted over the flatness of black?

Sadler: “To me, metaphorically, bright colors represent life and exuberance and black represents sadness and despair.  Often times I will begin a painting by covering the surface in flat black acrylic paint. On top of the black I will paint a bright, light-hearted scene. A landscape or an abstract image or a figure.  To me, it is nice to think that life and exuberance can dominate over sadness and despair.  Colors over black.  Every painting of mine has a little black in it.  Peeking through the bright colors, or a little painted on top.  Mostly exuberance, with just a little bit of sadness.”

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CG (3/5): What do you hope viewers gain from your works of art?

Sadler: "I want viewers to connect with the joy of them. I want people to gain a bit of peace from seeing these paintings. If a person can see one of these paintings and experience a bit of joy – maybe they love these sunsets, or maybe their Great Dane at home looks a little bit like the Great Dane I painted, or maybe these aerial paintings remind them of flying off to some vacation somewhere – then maybe they will carry that bit of joy into their next interaction. Happiness feeds happiness. Maybe a little joy gained from one of my paintings will plant the seed of a good day. Then maybe a good week, and so on."

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CG (4/5): Advice for aspiring artists/creators?

Sadler: “Well, I’m still looking for advice on just about everything, but I do have a tip for aspiring artists.  You have to let people know that your work is for sale! I have learned this the slow way. If you want to sell your paintings, or get your paintings in a show, or up in a gallery, you need to make it absolutely clear that this is your intention.  People need to know that you are an artist, and not just an accountant who painted a few pictures.  Making art is a wonderful hobby, but if you want to make it more than just a hobby you need to actively promote your work.  It’s like selling your car. You can’t just park your car in the garage and expect for someone to ring your doorbell and make you an offer.  You need to put a sign on it and park it where people can see it! The same goes for art. If you want to sell your art, you have to make it known that it’s for sale, and you have to show it where people are going to see it.”

 

CG (5/5): Favorite reason to live in Lawrence?

Sadler: “There are a lot of beautiful people here in Lawrence. A lot of open hearts and open minds. The compassion and creativity in this town is rare, and it’s wonderful.

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Q & A - Wayne Propst on William Burroughs

Q: When have you been most proud of yourself as an artist?

A: “I did a show at the Bottleneck, some years ago, where I really felt like I rocked the house…having a room that size, full of people.  {It was} performance art…more towards ranting.  That was also driven by the person that I used as my gauge…I didn’t have a script, no paper, no cards, nothing, I’m just going.  I was using William Burroughs, who was sitting right where I wanted him, I’m watching his reaction, and based on that, that’s how the performance unfolded.  I felt that he was my great teacher, I felt like my teacher was really helping me.  It’s hard to know what was really in his mind, what he was doing, he’s a really smart guy, {he} was trying to get me revved up - what his true thoughts are, who knows?  I wouldn’t have any idea.  But he did a good job of working me, and then I in turn felt like I had, over the years, learned something from him.  This was like a really friendly room.  This is the kind of show they wanted.”

Q: I understand that you were a close friend of William S. Burroughs – how has that relationship impacted/inspired you as an artist?

A: “I didn’t realize he was my teacher until he was dead.  We were just hanging out, and then after he was gone, I said wait a minute, he was my teacher.  I was fortunate enough…some people would say {I’m} lucky, that’s bullshit.  I had a couple – 3 or 4 – people like that, that I was fortunate enough to hang out with, including Bill.  He was a super smart person if nothing else, of course he’s a maniac in a lot of ways.  Williams was very inadept with anything mechanical, and so a lot of his art, people helped him get ready. One of the ironies of marketing and working rooms, is…people who were famous for something or other, and then took up something more like painting…that’s been a debate…wait a minute, is William really a painter?  There is some truth to that, however, what if you’ve spent your whole life hanging out with artists, or being in gallery after gallery, and museum after museum, and being right there in the room when people are making stuff, and you’re a writer and then at age…north of 70…and then you take up something like that…well shut the fuck up, why not?  Well, this doesn’t look like much.  Well, what do YOU know?  The critics, the artists, I can see the way they might be bitter.  The last few years of Bill’s life, he made more money selling art than he did for all the books, everything.  For a while there, the gallery shows…unbelievable.”

 Photo by  Jose Ferez

Photo by Jose Ferez


Wayne Propst - Artist Top 5

Artist Top Five Question 1/5

CG:  How did you come up with the idea to produce the sledgehammer paintings:

WP:  “We had been doing machine-generated art for a while, using all kinds of different tools and I had tried just hitting, I think it was a jar of paint with a hammer, and it was just SPECTACULAR, but it wasn’t very directed.  Then, in my shop I had a bunch of old-school dixie cup cone cups, and I thought, well if I put some paint in one of those, then the paint could only go in one direction.

 Eventually, I constructed a clam-shell device, to rapidly squeeze one of those dixie cups, and of course the paint came out pretty good.  Then, sometimes those dixie cups would burst and get away from me and so I started covering those cups with modified file folders.  At one time, file folders were valuable {but} right about the same time, the notion of files, because of computers, was becoming more and more obsolete.

Then we also experimented with using compressed air, and that is still in progress.  It works, but just not the way I want it to.  The contraption that is hanging in the gallery, you can control it a lot more, {there is} a lot more control over how much paint comes out, by adjusting the amount of paint that is in it…to describe how hard to hit it is…silly.

That’s what I think is so intriguing about it, at once it is seemingly just totally random, but of course it’s not.  It’s a learning process, anybody that has a bit of mechanical experience could get into it pretty fast.  The other variations are how viscus the paint is – if it is really thick versus really thin – all of those things come into play.”



 

Artist Top Five Question 2/5

CG:  What inspires the colors that you use?

WP:  “I don’t think the colors are random at all.  I choose the colors…I’m pretty interested in where it looks like it might be on fire…reads, yellows, things that suggest fire…they are the most interesting-looking ones, I think.”


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Artist Top Five Question 3/5

CG:  What should the viewer keep in mind when looking at the sledgehammer paintings:

WP:  “I’m not trying to diminish myself, {but} everybody can make something.  It’s not overwhelming.  The point of it might be that everybody could make something.  That’s a sad part of our culture, people feel so unempowered that they look outward.  Whatever the mission is, you better be really really good at it.  {That said,} I hustled my ass off to get to this spot…”

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Artist Top Five Question 4/5

CG:  What is your favorite thing about The Bourgeois Pig?

WP:  “Well, my cronies.  That’s an easy one.”


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Artist Top Five Question 5/5

CG:  What is your all-time favorite location on the planet?

WP:  “At the moment, I’d say, right now, I love my screened-in porch.”

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AD•AP•TATION(S)

 Erok Johanssen, Soul Khan, Street advertisements on panel

Erok Johanssen, Soul Khan, Street advertisements on panel

Here is a look into Erok Johanssen's ideas and inspiration behind his new show AD•AP•TATION(S)


“My work is mainly influenced by graffiti and street art. I started painting trains when I was 16 or 17. It was just fun to sneak in the yards and do something that we weren't supposed to be doing. I got hooked on that rush. The adrenaline. I didn't start doing it with the intention of becoming an artist. It just happened to work that way. I noticed every time i would go out and paint that I would learn something new and that my pieces were getting better. I began to get addicted to that progression as much as the rush of doing the work. Thats when I started taking it seriously and started to consider what I was doing art

I spent around 10 years focusing strictly on graffiti as a means of artistic expression until some friends invited me to do an art show with them. I didn't know how to make any art besides graffiti so I began experimenting with stencils because the spray can was the only tool I knew at the time. That was around the time the Fresh Produce Art Collective was formed. Through FPAC I met a ton of artists working in a wide variety of mediums. It was a very open and experimental collective. I learned a lot of new mediums through my involvement with the collective. Trading techniques was common practice for us. Everybody always had their own spin to put on different techniques. Mine always came back to some form of graffiti or street art.

My current series Ad•ap•tation(s) is a new celebration of the street aesthetic. The works are inspired by the dilapidation process that occurs to street advertisements as posters are layered over and over each other and over time begin to peel and tear from the natural elements. As the posters break down, new imagery is created. It is interesting to see what is revealed beneath the initial surface. Often times it leads to strange and interesting groupings of imagery and message. My new series aims to create exciting compositions out of posters that I have taken from the streets of NYC, Berlin, Paris, and Hong Kong.” 

"Still Here"

  "Closure" Oil on panel 2015

"Closure"
Oil on panel
2015

David Titterington's exhibit "Still Here" will be up until June 22nd - You don't want to miss it!

My process is traditional—many layers of semi-transparent paint first applied with loose and rhythmic brushstrokes. I enjoy how the nature of the paint itself reflects the fluidity and luminosity of mind and life.
— David Titterington, New American Paintings, No. 102

David was published in New American Paintings in 2012, you can see two of the works from the magazine in our gallery.

Read David's full statement from "New American Paintings" at https://www.newamericanpaintings.com/art…/david-titterington

Presenting "Still Here" by David Titterington

 "Death Lives In Every Moment" Oil on panel  2014

"Death Lives In Every Moment" Oil on panel  2014

Here is a sneak peek of David Titterington’s exhibition "Still Here"  The show features 21 of David's detailed and breathtaking oil paintings. David studied oil painting with Robert Julius Brawley at KU before moving to Japan, where for five years he researched the 88-temple Shikoku pilgrimage and painted sacred sites. He received his MFA from KU in 2013 and currently teaches Art at Haskell Indian Nations University.

Don't miss this amazing show open May 25th to June 22nd!


Here is the Artist Statement:

Landscapes are a kind of ritual for me, an “outward expression of an inward state,” and are symbolic, like language. Land and sky are situated inside of us as we are situated inside of them. Through the languages of realist landscape painting and religious icon painting, I aim to bring attention to the ways in which humans and landscapes exchange ideas and change one another. 

There is healing power in mountain silence and desert indifference. Landscapes point out what matters, or what, as a material substrate for the meta-system of culture, remains. Like our genes, they are more permanent than we are, and thus the landscape becomes a symbol for the eternal. It also becomes a site where revelations occur. As we move into the wilderness, the lights of civilization recede and then disappear. The landscape of nature gets bigger, and the stars can speak to one of vast reaches of cosmic time; stones murmur information from deep time; worms, rivers, winds and rains tell stories of ethereal, fleeting time where nothing lasts long enough to even exist.

Beneath our feet is a dreamy place where the excrement of one species becomes the nutrient of another; where ghosts, demons, minerals, bones and the abyss mingle; where the ever-present iron core lives and enables all of our actions and all of our lives.

Some of these paintings are a way for me to visualize the impenetrable realm within the planet, a place more difficult to gaze into than deep space! We can see the background radiation from the Big Bang, but remain locked out of the space right beneath us. Just a couple years ago scientists found an entire ocean some 400 miles beneath North America. The hidden ocean is apparently locked inside a blue crystalline mineral, ringwoodite, and holds three times as much water than exists in all the world’s surface oceans. They say this discovery may help explain where Earth’s water supply came from and how subterranean water affects plate tectonics. In a way it also confirms mythic origins of the oceans — Leviathan, the blue, crystal-coated water dragon slumbering inside the planet.

For more info on the artist please visit https://davidtitterington.com/ 

Robert McNown's Final Friday show

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Join us this Final Friday, March 30th from 5-9pm for Robert McNown's Recent Paintings show! We will have a cash bar and ample opportunity for conversation.

To make an evening of it, you'll need some insider info about our neighbors...

Everyone knows the best way to enjoy art is with a full belly. We highly recommend Bon Bon for fun food and fantastic cocktails, or Lawrence Beer Company for beer and modern (and delicious) brewery fare.

Just east of Cider are SeedCo Studios, Art Emergency, and Rural Pearl - Cut Paper Art by Angie Pickman, where you can see even more marvelous local pieces and artists.

See you tomorrow!

Sinatra party attire ideas: fella's edition

Joining us the evening of December 16th to celebrate Frank Sinatra’s birthday? Unsure about what to wear? If you want to dress up (and we strongly encourage it), you don’t have to break the bank to channel Ol’ Blue Eyes and his crew.

For a classic Sinatra-era look, all you need is a simple suit (either navy, black, or gray) with a skinny black tie or bowtie. And don't forget the classic white button-down. For accessories, we recommend a pocket square, a cocktail in your hand, and a fedora, and don't forget to "Cock your hat -- angles are attitudes."

For more information about this event and to purchase tickets, visit frank-sinatra-event.

 

Lawrence Art Guild for Final Friday

Some things you should know about the Lawrence Art Guild:

1. It’s filled with members who create, develop, and continue to expand a dialogue about art within the Lawrence community. 

2. Proceeds from the 10% commission that each artist pays go directly into Lawrence Public High School Gifting Programs. 

3. This year they gave $7,000 to Douglas County Public High School art programs.

4. They provide opportunities and equipment for classrooms to help students familiarize themselves different materials. 

And... Oh yeah! Of course! How could we forget? 

5. They’re having a show at the Cider Gallery, and the opening is this Friday

Here's a sneak peek of what's in store:

You won’t want to miss it! 

October Final Friday, showcasing John Gary Brown

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Here is a sneak peek of John Gary Brown’s work for our October Final Friday show. We can’t help but gush about the way his work fits so naturally in the gallery.

Don’t miss the opportunity to see it up close and personal tomorrow from 5-9pm!

Here is the artist's statement:

My paintings, although basically non-objective, are often organized around a horizon line, and they are intended to be seen as landscapes, inspired by the prairies of my home state of Kansas, the watery vistas in the Puget Sound area, or the more ordered grounds of rural Europe. The arid regions of the Middle East and Southwest United States provide references to the decayed, full circle magic that seems to reflect the beginnings and the end of earth’s cycles, and lately I have begun to look inward, toward a landscape of dreams and meditation. Whatever the point of departure, the landscape for me is part of that unhurried, inexorable natural process that deserves respect and emulation. Structure or phenomena are sometimes implied but rarely spelled out, so that an air of mystery pervades the imagery and the painting process becomes an essential part of the subject matter. I am an admirer of J.M.W. Turner and the post impressionist artists who flirted with abstraction, but I’m also influenced by modern masters like Mark Rothko and Richard Diebenkorn.

The paintings are executed in layers. A wash of free-flowing “under painting” is applied by brush and allowed to form organic shapes, before the canvas is placed face up in the studio, so that the contours will stabilize and partially dry. When the paint is ready for another layer it will be applied by brush, print brayer or cloth. Some areas of the submerged color will be revealed by paint rag or palette knife, providing an interior luminosity that can’t be attained by painting onto the surface. Oil paint is the only medium I use for this process. Drawing is worked into the image with a brush or the edge of a print brayer and this process is repeated in several layers until the painting is completed. 

I will occasionally make veiled references to natural forces in nature, such as wind and water, or to the transitory works and activity of mankind, but I believe our marks upon the earth are superficial and fleeting. I try to depict and celebrate what is truly elemental on the planet- the endless handiwork of water, atmosphere and light. Many of the canvases are named for places and circumstances brought about by the manipulations of humanity, but the dominant feature in each one is the ongoing celestial process. 

I have been a professional artist since 1970 and my work can be found in over five hundred private, museum and corporate collections. I have shown in thirty galleries over the years, from New Jersey to Seattle, and have participated in almost one hundred exhibitions, many of them one-man shows. In Seattle my work has been featured with Dale Chihuly, Kenneth Callahan and Mark Toby. I keep a studio in Lawrence, Kansas, and Creede, Colorado, and look forward to many more years of painting.

For more information about the artist, please visit http://www.johngarybrown.com/.

cjonline.com features Cider Gallery

More than the art: Cider Gallery in East Lawrence acts a community center, heart of warehouse district

by Savanna Maue

Tucked in the heart of the Lawrence Warehouse Arts District, the Cider Gallery is coming up on its five-year anniversary.

Along the brick-cobbled Pennsylvania Street, between Bon Bon, an eclectic eatery of foods from around the world, and the newly opened Lawrence Beer Company, the gallery is part of the foundation of ongoing arts development.

“There were already a lot of artists working on the east side, they were working in co-op studios or home studios and they didn’t want them (the developers) to come in and run the artists away,” said Jennifer Letner, the director of the gallery. “This is the best thing the east side has going for it, it has the art district name but it can’t just be a name, you have to be true to it. So they made sure they left in the artist studios, added more artists studios and added the art gallery.”

Led by developer Tony Krsnich, Letner said he and his partners bought the block and began remodeling the historic buildings into apartments and offices. Originally the location of the Cider Gallery was slated to be more offices, but as Letner recalls — after input from George Paley, a visionary behind the Warehouse Arts District, Krsnich created the 5,000-square-foot gallery — named for the building’s previous life as a cider distillery.

The event space now hosts about 130 events a year, ranging from dance recitals to wedding events to a meeting place for latest “Supernatural” premiere.

“We do a lot of local art auction fundraisers for nonprofits in town, music/concert fundraisers for places in town, it’s been the main way for people who aren’t going to just happen upon us because they’re invited to a wedding to find us,” Letner said.

But the primary purpose of the gallery is to focus local Lawrence artists. Events are filled in around Final Fridays in Lawrence, a late-night tradition in which businesses around Lawrence — and the arts district — stay open late and offer their specials.

Cider Gallery changes exhibits based on these events, the next on Oct. 27, which will feature the work of John Gary Brown.

Brown keeps a studio in Lawrence and balances his time between here and Colorado, in addition to his travels. He describes his work as “non-objective,” and “organized around a horizon line.” They’re intended to be seen as landscapes, inspired by his home state of Kansas, the Puget Sound along the northwest coast, Europe, and across the world.

“Lately I have begun to look inward, toward a landscape of dreams and meditation,” Brown said via email. “Whatever the point of departure, the landscape for me is part of that unhurried, inexorable natural process that deserves respect and emulation.”

Jeromy Morris, the curator for the museum, has been working with local artists in the gallery for about four years to bring varied, professional pieces to the gallery that will attract a variety of people.

“I try and encourage and promote local artists while occasionally exposing viewers to artists outside of the Lawrence bubble, when funding allows,” Morris said. “There’s a selfish element when selecting artists. I select artists that I like, as humans, and respect their approach to their work. I tend to gravitate to artists that are taking risks and exhibit interesting studio habits. It’s exciting to me when I’m left questioning the process or how a certain piece was created.”

A draw to the gallery, Morris explained, is the versatility of the space. There’s a variation of brick, stone, and white walls to showcase the pieces, which Morris said elevates the artwork.

“There’s always an element of surprise when artists and patrons see the work. I hope artists and patrons see the nuances and attention to detail each show exhibits,” he said.

Morris also works with fellow artists when curating shows, which is the case for Brown’s at the end of the month. Kyla Strid, a local ceramicist, worked with the gallery for its latest exhibit.

The gallery is open 1 to 5 p.m. Tuesday through Friday, with extended hours for special events. Visit cidergallery.com.

A Bit of Bite

Today marks the final day of our current exhibition, A Bit of Bite. The images included in this collection are dedicated to celebrating the concept of food and all its significances through the marvelous medium of printmaking.

We wish to extend our gratitude to our guest curator, Kyla Strid, the Director of Residencies and Adult Education at the Lawrence Arts Center. Strid curated this exhibition in order to explore ideas about food and the act of consuming it. According to her, "Food is an elemental part of our culture, history, and our lives" and in addition to providing us with basic sustenance, it also has the capacity to "make a political statement, shape our identity, or be a reflection of our beliefs."

Strid deliberately chose to compile prints and works on paper for this collection in order to offer a commentary on the industrialization and commercialization of food, drawing a likeness between the mass production of images and the mass production of food. With artworks embodying a wide variety of moods, this exhibition boasts a flavor profile every bit as diverse as the foods they depict.

 

Featured artists: Laura Bigger, Melissa Haviland, Kate Horvat, Emmy Lingscheit, Ashton Ludden, Saegan Moran, Yoonmi Nam, Tonja Torgerson, Breanne Trammell, Two Tone Press, and Ella Webe.

Stepping into Hartung's World

It feels like everyone around me is moving at a hundred miles an hour, and there’s no way I can catch up. These multifaceted digital dimensions and extensions of our online selves provide a source for others to judge us, to explore our interests and to take a step into our world. What is it truly like to be you, to be me? This is the question I have been asking myself about Mike Hatrung, a 72 year old  painter who currently resides in Lindsborg, Kansas.

I had a teacher mention his name to me and a brief description of his story, followed by a link to an article that featured Hartung. Proceeding this I decided to do what any person living in the 21st century would do… Google him. Nothing. Absolutely nothing.

This was astonishing to me because the information was not at my fingertips, which is something I’m not used to. Most artists who have been selected for a solo show at least have a website or articles featuring images of their work. So after this anticlimactic event I had no choice but to visit the Salina Art Center, because the ambiguity and mystery behind not knowing was alluring enough.

My paradigm shifted after attending this show. There is something immensely beautiful about Hartung’s approach toward life and art. It’s extremely admirable that Hartung had no intention of ever sharing the 700 some paintings he created in the last 40 years. His humbleness and genuine regards towards the large scale masonite boards show honesty in every mark. He has no desire to sell these works, he never posted them on the internet, nor asked curators to take a look. He lived modestly and remained a recluse working in his studio for himself. What a true artist. I encourage those of you who haven’t seen the show to take a trip to the Salina Art Center, whose staff is incredibly friendly, and take a look into Hartung’s mind because it might be the only chance you get.

I’ll share a photo that anyone can find online of the charming Mike Hartung. I don’t want to give away the mystery that drew me to his work. I don’t want to ruin this phenomenon. But trust me on this one, his instagram, twitter, and facebook are on extreme lockdown, and unavailable to the public so this might be the only chance you get. ;)

by Madison Tubbs

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Artist Spotlight: Ashton Ludden

Today we take a closer look at the work of artist and printmaker Ashton Ludden. In her work, she meditates on the relationship between humans and animals, focusing particularly on ethical treatment and the process of subordination. 

Here, Ludden discusses how the process of printmaking and her subject matter are perfectly paired: 

“I choose the medium of printmaking not only for its unique aesthetic qualities, such as the engraved line or a fine rosin aquatint, but also for its ability to create multiples. Disposables are deemed as such because accessible copies or substitutes exist as replacements. Just as printmakers must wrestle with the value of the multiple, so too do we confront this issue when dealing with animals regarded alternately as living commodities. Our egotism has us believe that we, members of the human race, are all unique beings, superior to objects and non-human animals. My work investigates how we determine and also justify what is considered a unique individual versus a disposable copy.”

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"Slipper Snuggle" -- Engraving, etching and aquatint -- 2013

Yoonmi Nam & Ella Weber

Time to take a closer look into the world of two talented printmakers. Meet Ella Weber and Yoonmi Nam. Both artists are working in the midwest using their daily lives to inform their work. 

Ella’s work is influenced by her current lifestyle and interactions working in a deli at a grocery store in Nebraska. Her work investigates the tension between consumer and viewer, performer and employee, artist and gallery. 

Yoonmi Nam is drawn to the ever-changing still-lifes that she encounters on her kitchen table. Focusing on the lifespan of these temporary and disposable man made objects we find ourselves using daily basis. Yoonmi crafts drawings and prints that engage both elegant temporary lifeforms such flowers with one use only man made items such as instant noodle cups. 

For more informations about these featured artists visit: 
http://www.ellaweber.com
http://www.yoonminam.com

Stop by to view more of their works featured this month at the gallery!

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Wait wait ... Wait !!

Wait wait ... wait !!
Have you heard? 

The Cider Gallery is thrilled to announce October’s printmaking exhibition “A Bit of Bite,” guest curated by Kyla Strid. This month’s show will have your appetite wrapped around it’s cheeto coated finger featuring eleven printmaking artists who have crafted works that are sure to make your tummy growl. This exhibition explores a range of topics and conversations involving food and the world of printmaking. 

Thursday October 19th is a date to remember because the Cider Gallery will be participating in the Print Week Gallery Walk. This evening invites all eyes to gaze into the miraculous world of printmaking where galleries around Lawrence will be hosting shows which commemorating this extraordinary craft. For more information about this week and the events taking place visit : https://lawrenceartscenter.org/event/print-week-2017/

"Wait wait ... wait !" 
Installation By Kate Horvat

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Security 1st Title - Cinco De Mayo Customer Appreciation

Showing your appreciation is one of those values we never tire of.  When a company shows their appreciation to their loyal customers it goes a long way to build their reputation.  Security 1st Titl went above and beyond for their Cinco De Mayo Customer Appreciation Event at Cider Gallery.  Free Mexican lager, margaritas, smoked meat for tacos, and a live mariachi band.  Have you thought about celebrating your fantastic customers?  Reach out to jennifer@cidergallery.com to plan your customer appreciation event today!