The Wait

Norman Akers, artist

Cultural affiliations: Osage

born 1958

The Wait, 2010

Where object was made: Lawrence, Kansas, United States

Material/technique: stenciling; reduction gum rollup; wove paper

Dimensions:
Image Dimensions Height/Width (Height x Width): 250 x 190 mm
Image Dimensions Height/Width (Height x Width): 9 13/16 x 7 1/2 in
Sheet/Paper Dimensions (Height x Width): 415 x 342 mm
Sheet/Paper Dimensions (Height x Width): 16 5/16 x 13 7/16 in
Mat Dimensions (Height x Width): 20 x 16 in

Credit line: Museum purchase: Letha Churchill Walker Memorial Art Fund

Accession number: 2012.0034

Not on display

Add to portfolio

If you wish to reproduce this image, please submit an image request

Images

Label texts

Life, Liberty, and the Pursuit of Access Virtual Exhibition

The layers in this piece include a map of Kansas—part of the traditional land of the Osage—native Kansas birds, a depiction of the Osage creation story, and a portrait of an Osage chief. The map speaks to the land and to expanse, but also to the legacy and impact of colonization. Maps can broaden our horizons or create imposed borders. How is a sense of space cultivated in colonized land?

Brosseau Center for Learning: Life, Liberty, and the Pursuit of Access

Brosseau Center for Learning: Six Degrees of Separation: Prints from KU and Beyond

Norman Akers is an associate professor in the Department of Visual Art at KU. By layering images within this print, Akers explores ideas of Osage identity and origin. A map of Kansas, the traditional land of the Osage, is overlaid with depictions of native Kansas birds, a depiction of the Osage creation story, and the portrait of an Osage Chief originally painted by George Catlin. By connecting the ideas of land, origin, and identity, Akers calls to attention the survival of Native peoples and the ongoing effects of colonization and removal.

Brosseau Center for Learning: Six Degrees of Separation: Prints from KU and Beyond

Norman Akers uses a technique called reduction gum rollup, which is also known as gum arabic transfer or paper plate lithography. A paper photocopy is the basis for this technique. First, a plate is coated with gum arabic and the photocopy is placed on top with the image facing up. The photocopy is then also coated in gum arabic. Next, a layer of ink or paint is rolled over the photocopy. As the ink is added, excess can be wiped away with a wet sponge. A piece of paper is then placed over the photocopy and is burnished to transfer the image onto the paper. Finally, the dampened paper is placed on the press and the print is created.

Tap the web icon to read more about Norman Akers and to view some of his other works.