The Cincinnati Art Museum is pleased to announce Serena Urry as Chief Conservator. Before coming to the Cincinnati Art Museum, Serena served as Senior Conservator of Paintings at the Barnes Foundation, preparing its Impressionist and Post-Impressionist collection for the historic move to downtown Philadelphia.
Ever wanted to be on Antiques Roadshow? Have a piece stored away in your basement or attic that you would like to know more about? Now is your chance to have a work of art examined by an experienced and knowledgeable curator from the Cincinnati Art Museum! Our biannual Consult-a-Curator is for MEMBERS ONLY and is offered on a first-come, first-served basis.
THE MANIFEST PRIZE: With this project Manifest pushes the jury process to the ultimate limit - from among many to select ONE single work to be exhibited in the Parallel Space at Manifest Gallery in Cincinnati from December 14 through January 11, 2013.
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...
