When I entered the Marta Hewett Gallery to see this exhibition of glass by Darryl Berry and paintings by Jean Mehdi Grangeon, the two exhibitions seem to work seamlessly together, as if both were part of one installation, a tribute to Hewett. After some adjustment time, I pulled up a chair and sat awhile, and the layers of meaning and visual dialogue began to unfold.
The much exhibited and awarded artist Rick Bennett, in his Artist Statement, reveals, “Ultimately my paintings are not complicated.” What Bennett accomplishes with his landscape work is this incredible feeling of light and space, perhaps done simply, but in the polished manner of an artist who is well beyond just ‘speaking terms’ with nature.
A photo essay by Louis Zoellar Bickett from his ongoing project The Archive: twenty-two photographs taken at Lexington Cemetery in Lexington, Kentucky, on April 10, 2013.
Saad Ghosn profiles two artists working for a better world: Jan Brown Checco, painter, sculptor and art administrator committed to fostering intercultural understanding and mutual appreciation through community-based art projects, and Fran Watson, literary artist and above all a full time lover and appreciator of all arts.
The yellow glasses I found in Bellevue, Kentucky aren’t those from the Beatles’ famous Sargent Pepper’s song.
I returned to Chicago for the April 19th symposium on Picasso1 organized for the “Picasso and Chicago” exhibition and seeing the exhibition again strengthens my already deep appreciation of Pablo Picasso and reinforces his pivotal role in advancing modernism.
Cincinnati’s Emery once again opened its doors for the third consecutive year (under the leadership of The Requiem Project) with two shows this past weekend: Atlas Points—the visual arts component of Cincinnati’s MusicNow and FORTY/40—the Contemporary Dance Theatre’s 40th Anniversary celebration.
“Oh, the parks minister to lovers in the spring! Rhythms of love turn out to be symphonic, that started out merely platonic … Any keepers on your Match.com list, Wild Thing?”
Walking through “Elaine Ling’s Mongolia” exhibition at the Iris BookCafé and Gallery in Over the Rhine, her photos read as ethnographic records documenting the life of nomads living in the independent Outer Mongolia. Looking at them gave me the sense I knew these people through their portraits, the trappings of their lives, and the monoliths and carved stone statues standing alone in the Gobi Desert.
