A faux wedding attracted the cultural elite to the Contemporary Arts Center (CAC) in full force April 24. The cause was the unveiling of a New York City design student's bridal gown based on Zaha Hadid's model for the new Rosenthal Center for Contemporary Art.
It also was a perfect opportunity for a progress report on the Contemporary Cincinnati Campaign. An $800,000 Kresge Foundation grant brings the CAC just $2 million shy of its $30.3 million goal. Lilies were passed out. Champagne and cake were served. CAC Director Charles Desmarais held a box from Tiffany & Co., a present for his five years at the center's helm.
CAC Curator and local artist Kim Humphries was away from the revelry, busy working at his desk. His last day after seven and a half years at the CAC was April 26, and there were plenty of loose ends to tie up. During an evening of celebration for a brick-and mortar project, one wonders, why is there such little attention for a significant, flesh-and-blood artist?
Humphries leaves the CAC running. He's made a nine-month commitment to the Big Pig Gig as project manager. For those familiar with him, his willingness to dive into the Pig chaos comes as no surprise. He's always lent a helping hand to the local arts community.
"I love Cincinnati," Humphries says. "I'm always impressed by the young group of vibrant artists who are making things happen. But I always suspected that the next great job for me in the arts was not here. Maybe I need to open my eyes further."
The challenge for Cincinnati's cultural elite is to step back from brick-and-mortar projects and consider the city's artists. There might not be a marketing boost for a company like Cinergy to take an active interest in keeping Humphries in town, but true arts philanthropy is about the artists just as much as it's about museums.
In a town that takes pride in the growth of its arts community, a question remains unanswered: What can be done to keep Humphries in Cincinnati?
Humphries says he's leaving the CAC over common work problems -- increased workload, a difference in personalities and salary concerns. It's hard to leave, and the new building project made the decision even more difficult. More importantly, Humphries wants to stay in Cincinnati.
It was a winding path that first brought Humphries and his artist-wife Sarah Colby to town in 1992. He was fascinated with art while growing up in New Philadelphia, Ohio. College took him from Bloomington, Ind., to Baltimore. Work for a Manhattan-based fine art shipping firm gave him the practical arts management experience that helped him land his CAC position.
But Humphries' local impact can be felt away from the CAC. He and Colby were long-time supporters of the now-shuttered Dileia Gallery. They helped relocate Semantics to its Brighton Corner home.
For two nights last October, Humphries staged an eclectic Rock opera titled Gillombardo's Hams -- a hip, inventive, eclectic, clever and funny piece of performance art. More importantly, it was an impressive, collaborative effort led by Humphries, who worked with fellow CAC colleagues, working artists, Art Academy students and Semantics Gallery peers.
I remember what Humphries told me during rehearsals for Gillombardo's Ham: "Why wouldn't you want to do something wonderful in your own community?"
Humphries' work will be part of a Weston Art Gallery exhibit later this year. He also curated and installed the current sculpture show at The Carnegie in Covington.
The Big Pig Gig will keep him busy through December. It's fair to assume that Humphries will find time for the arts cheerleading and hands-on philanthropy he's always practiced. His legacy is the number of artists he's helped over the years.
"There are different degrees of great people," Humphries says. "I don't call myself a great person. I do think of myself as a good person, but I don't think of myself as a great person."
Now, this good person (and this town) is in need of a good deed.
