As early as kindergarten, Karen Heyl, now 66, knew she was going to be an artist. “When my art project was held up as an example in class,” Heyl said, “I knew I wanted to be an artist.” In the 1960’s, she married and had two daughters.
Three new solo-exhibitions featuring works by A.L. Steiner, Anthony Burdin, and Drew Heitzler are currently on view at Blum & Poe in Los Angeles.
In the pleasant confines of Wash Park Art, 1215 Elm Street, just a few doors down from Music Hall, the work of three painters and two photographers shared space handily in Urbanscape: Through Paint and Lens, a show that only recently closed.
Three poems by Maxwell Redder: “Burnt Bridge,” about burning a way back across a river; “Jay Monkee’s Panopticon,” about a prison ruled by fear and greed; and “As A Young Bird,” about a fledgling pushed from its nest.
While we pursue more information than we did in the past, we have become less apt to retain most of which we learn because of our ever-present access to the Internet.
The famous expression “Never Again!” was coined by Rabbi Meier Kehane, a Brooklyn-born rabbi who emigrated to Israel, and may be said to have caused no end of trouble for various Israeli governments, but the expression itself will live well beyond the man who coined it.
The Green Road, by Anne Enright, is another excellent summer release, written by the outstanding Irish novelist Anne Enright, whose earlier novel, The Gathering, won the prestigious Man Booker Prize for fiction.
As such, a lot of new releases in the late spring and summer are novels allegedly about the lives of the rich in these summer abodes.
Whenever discussions about the relationships between fashion and art occur, the conversation inevitably ends up around the question “Is fashion art?” Although it’s been answered previously on AEQAI, it bears repeating that yes, fashion is art.
The Carl Solway Gallery is an icon in the Cincinnati arts community. In 2010, Carl’s son Michael became director of the gallery after running the SolwayJones Gallery in Los Angeles for 10 years.
This debut novel by young African-American novelist Angela Flournoy is written in what first appears to be simple narrative prose style—and that’s a good thing, since the novel is about a family of two parents and thirteen children born to them, and takes place mostly in Detroit from right around World War II to the present.
The summer issue of Aeqai has just posted; it’s our annual double issue, July and August, when the arts are a little slower.
The large scale mixed media pieces on paper by Andy Fausz are not for the faint of heart. They are brutally honest and beautifully rendered. To many they may be shocking, but shock is not the intent of the work, which bumps up carefully against graffiti art. In these dark dreamlike compositions, Fausz’s examines the pain of a disrupted relationship, and the struggle between evil and good, and life and death.
In 1965, the Los Angeles Contemporary Museum of Art first opened its doors on Wilshire Boulevard. Before LACMA, Los Angeles lacked any semblance of an alternative art hub.
Rising to the top in the art world is not the norm for the average MFA holder even with that precious certificate that guarantees the student knows nearly everything about art that the institution he/she has attended can afford them.
People’s Liberty staff leaders describe the operation as a philanthropic laboratory. This forward-looking, deep-pockets organization, which values disruptive ideas and innovative methods, is changing the character of local philanthropy and the face of urban neighborhoods.
Thunder-Sky loves to mess with art history every once in a while, and using historically famous art and artists as starting points and inspirations for artists we love and support is a great little strategy to do a smart, silly, and sweet intervention. The artists we are closest to, sometimes referred to as “outsider” or “self-taught,” respond and are influenced just as much by legit art history as much as anything else.
Inaugurated in 1895 with the first international presentation in 1897, la Biennale di Venezia is the oldest and in my opinion, still the most prestigeous of the contemporary international exhibitions of visual art.
According to the forward to his monumental book series The North American Indians, Edward S. Curtis is a man “whose pictures are pictures, not merely photographs.” One wonders now what is meant by that statement, written in 1907 by President Theodore Roosevelt. But if you spend enough time in the Taft Museum of Art’s new exhibit, Enduring Spirit, you might understand the difference between a picture and a photograph.
With its current show By This River and previous show The Weight of Water, the Weston Gallery has devoted both spring and summer to presenting Cincinnati with multiple lenses through which to view water, an essential element of life that has served as inspiration for countless artists.
Jan Tilens and Hendrick van Balen’s “Expansive Mountain Valley Landscape with a Rainbow and the Hunt of Diana” is a classic example of a “Weltlandschaft,” or world landscape, the sort of picture that first drew Otto Christian Fassbender and his wife Renate to assemble their outstanding collection of 17th century paintings now on view at the CAM.
It took years, but eventually Jymi Bolden persuaded Melvin Grier it was possible to be both a photojournalist and a fine artist. Bolden was a student at the Art Academy of Cincinnati when he worked during the 1980s as a photo intern with the already seasoned Grier at The Cincinnati Post, and that’s when the persuasion began.
