In the summer of 2010, L. A.-based artists Elizabeth Bryant and Stephen Berens, who happen to be married to each other, spent time in Sol LeWitt’s studio in Spoleto, Italy.
As part of Cincinnati FotoFocus , ( a month long photographic program in Cincinnati and Northern Kentucky, consisting of over 75 exhibitions and over 500 photographers) Northern Kentucky University currently has Reporting Back: A Survey of Documentary Photography on display at NKU’s Fine Arts Center’s Main and Third Floor Galleries through October 26. This exhibit, consisting of fourteen
REALITY is a very slippery slope, one that ultimately makes landfall for most on the flat-line of pain, disease, blood, feces, decrepitude, death…the Abject. These unwelcome crags can really shiver the timbers of even the most ambitious forces that human nature embodies.
The act of looking is brave. Especially if you look at things you can’t handle. I think that most people do not look. If you’re really paying attention you could have your heart broken twelve times a day. Most of the time we aren’t looking...
Herb Ritts’ show “L. A. Style” at the Cincinnati Art Museum (up through December 30, 2012) has an etched-in-stone, funereal quality fused with a kinky soullessness. Ritts is one of those seminal photographers of an age, like Richard Avedon, Irving Penn and Edward Steichen (more on him a little later), whose lens captured the essence of a zeitgeist way beyond what is framed in his pictures.
It was a cold afternoon and sunny. The air was crisp and I soon found myself at the Notre Dame Academy · Frances Kathryn Carlisle Performing Arts Center and Gallery. The gallery was set off to a wing of the school that allowed for a quiet visit. Hardly anyone would have known I was there at all which, in my opinion, is the best way to review an art exhibit.
The dream-tinged images in Aperture, Phyllis Weston Gallery’s contribution to FotoFocus, come from distinctly individual bodies of work but share an other worldly quality. Jane Alden Stevens’ series, “Birth & Death,” is composed of large, labor-intensive mono-prints dating from the early to mid-1990s, “a time before digital tools could have made it much easier” she comments in her artist’s statement.
Naked, making money, laughing just as hydraulics hiss from the bus lifting itself back up to go – easy life for a wine rep. Dressed, no cigarette yet, relentless phone calls ringing like church bells – clients wanting their orders on time. Bathtub, backrub...
Anthony Luensman’s first major solo exhibition in five years, “Taint” at the Alice F. and Harris K. Weston Art Gallery was supported by a $20,000 National Endowment for the Arts grant—one of only seventeen such grants chosen out of 1,624 eligible applications by arts organizations commissioning the creation of new works in the state of Ohio...
