Currently on view at AISLE in the West End, Fiends is a two-person show featuring works by veteran collagist Michael Scheurer and newcomer Lizzy Renschler.
If you’ve been paying even a modicum of attention, it should be clear to you by now that Scheurer has become a hot property. In the past year the artist’s mixed media works have been shown at Clay Street Press, the Northside space CANCO, and Covington’s AEC...

The Ghost Empire Collective, an all male artist collective from Cincinnati and Northern Kentucky, began their first gallery season with Die Cupid Die at The Famous Neons Unplugged. The core idea behind the Ghost Empire Collective, recently formed in late 2011, is to bring art to audiences in non-traditional art spaces such as restaurants and bars.

When asked to discuss a significant piece of art that is part of the Cincinnati Art Museum’s permanent collection, the piece that immediately came to mind was a medium-sized painting by Edward Hopper. I first came into contact with the piece about a decade ago.

Manifest is excited to announce a major new program to join our already robust Gallery, Drawing Center, and Press activities.

The insistent art works in Beyond Emancipation at Kennedy Heights Arts Center demand attention. “Look at me,” they seem to cry out. “Look at me now. WHAT DO YOU THINK I’M SAYING?” The first message, and there are others, is that emancipation was a first step, a needed step, but only the beginning.

Rather poetically, the announcement card for “Winter Solace” says the two-woman show of Kim Flora’s paintings and Trina Feldhake’s ceramic baskets “reflects the quiet, the surprise, and the texture of the winter season.” It does. At least in part. To start...

This is the second in a series of a quarterly letters, which will cover painting shows in greater New York.
“From the top of the arched opening – as it gradually widens – pours forth a sparkling flow of jewels, a pattering rain of diamonds, and, directly following, a tumble of gems of every color, steeped in light…”
Illuminating work has been spilling out of the intimate brownstones and cavernous light-filled New York...

Flesh. It gleams and swells in Samson and Delilah, giving us the whole story before we can recall the details. It shows us her allure and his weakness. It gives life to this picture, but it is made from paint brushed across a wooden panel. In Rubens’ hands, paint and flesh transform a morality tale into an erotic tour de force.

A stratified structure of litter (constructed of packaging that once housed Cheez-Its, cans of Bud Light and Diet Coke, and Pop-Secret microwavable bags of popcorn) rests precariously atop an old-school reel-to-reel tape recorder in Keith Benjamin’s “the weight,” a sculpture that teeters toward absurdity while evoking the loneliness and exactitude of a hoarder’s consciousness. Nothing is wasted in this work of art. You can...