I had high hopes for “Fiber: The Next Dimension” at the Kennedy Heights Arts Center. The photograph of Amy Wallace’s Nature’s Vessel that accompanied the press release bolstered those hopes.
Walking into the Woodward Theater in OTR, the first person I noticed was Quinn. We had never met before, but judging by the swiftness of his steps and his frequent motion of hand to chin during the warm up I could tell that he had a lot to say.
A poem by Louis Zoellar Bickett, dated September 11, 2015, about reading to Jon Bales in his hospital bed as he nears death, and a sharp line he speaks to the night nurse.
The Brazee Studios Art gallery, tucked away in the suburb of Oakley, is currently featuring the well paired work of painter M. Katherine Hurley and sculptress Margot Gotoff.
Two recent novels, The Sympathizers, by Viet Thanh Nguyen, and Dragonfish, by Vu Tran, are debut novels by two Vietnamese-American men, and the books have many elements in common (besides their excellence).
English writer Helen Macdonald’s memoir H is for Hawk is one of the most brilliantly conceived and written books of the year. I passed on buying it three times, as I couldn’t decide if it might be fascinating, or boring, or some kind of gimmick (alas, one does approach so much culture with those stipulations and/or concerns lately).
Saad Ghosn’s new and superb book, Artists as Activists, is now out, with a book signing and sale that just took place at Joseph Beth at Rookwood on September 19th. It’s a splendid offering, full of individual interview essays that Ghosn wrote himself from a selection of many of this region’s finest artists.
Three poems by Maxwell Redder: “Folds of Paper,” about a discarded glove and the questions it raises; “How Not Talking Talks,” a night ride along the river trail; and “Winter Break,” a late-summer scene near Cincinnati’s first water-treatment facility.
The September Aeqai has just posted. This issue represents a kind of transition period, from mid-to late August, through the first third of September, when the summer’s just about over, and the fall season’s about to begin in earnest.
The publishing of this AEQAI article couldn’t come at a better time as fashion month is officially in full swing with designers showcasing their Spring 2016 collections across the globe. It first begins in the United States with New York Fashion Week, and then migrates to London, Milan, and Paris. Generally speaking, as the fashion crowd moves east to each new city, the fashion itself becomes more interesting.
M. Katherine Hurley grew up in Gates Mills, a small, rural community, 40 miles east of Cleveland. While her first love was horses, she later focused on landscapes.
Unknown Elements is this strange passage of time. Walking into the quaint exhibition space is as if walking into a long lost living room. Images of family members grace the walls, ranging from a war-time portrait of your heroic uncle to your mother’s failed attempt at documenting your annual vacation out West; from monochromatic flash photography, to dismal tintypes of your ancestors from across-the-sea.
Downtown Cincinnati is experiencing the biggest cultural building boom since the 1880s. If planning capital projects for arts and education is an indication of confidence in the economy, it appears that we are moving out of the so-called “Great Recession.”
Los-Angeles based artist Jennifer Gunlock has often looked to nature for inspiration. While her work seems abstractionist, it also embodies elements that link her to surrealism: Gunlock has an uncanny ability to interweave elements of the urban world with tree-like formations that, together, produce futuristic landscapes.
It’s fair to wonder on what basis we can be sure that the wonderful series of recent paintings by Stewart Goldman, curated by Aaron Cowan, are landscapes. Many are horizontal—some even lusciously elongated—but not all. The artist has provided a number of keys to help us see the landscape elements that inspired these mostly non-representational paintings.
The Venice Biennale, which opened in May, is on view through Nov 22 with exhibitions in the Giardini and the Arsenale, featuring 136 artists, 89 participating countries, and 44 collateral events presented by non-profit organizations and exhibited in various locations across Venice.
Stationed inside the Cincinnati Public Library’s downtown branch, in the International Fiction alcove, is an archipelago of funky institutional wooden tables topped with glass rectangular boxes.
Abstraction has made an explosive return to the visual arts in the past five years or so, and every now and again, an artist who is relatively unknown will surface with work that’s astonishingly fine. Dayton-area based Beth Hertz is just such an artist.
Shortly after the release of Justin Van Hoy’s 2012 curatorial publication Milk & Honey: Contemporary Art in California, his life came to an untimely end. At just 31, the accomplished artist lost what had been his second battle with cancer.
As I drove to C-LINK Gallery, located at Brazee Street Studios in Oakley, Cincinnati, I realized I’d never actually been inside the building. I’d driven by it, once, while searching for an elusive community garden, and had noted the decaying Shepard Fairey paste-up on an exterior wall.
The Bois de Boulogne is a large Park on the outskirts of central Paris. It is a serene, green space with ponds and paths and playgrounds and now, an astounding Frank Gehry designed private museum. It was commissioned by Bernard Arnault, Chairman of LVMH, the luxury goods conglomerate and owner of Louis Vuitton to, in part, house his and LVMH’s contemporary art collection.
Denise Burge is an associate professor of art at UC’s DAAP College of Art. I visited her on a warm late summer day in her studio in Northside where I found her working on the beginnings of a new series.
