The soft, warm tones Holly Morrison's "The Extinguishing of the Stars" is one of several evocative images from a limited edition book on display at the Aronoff's Weston Gallery.

As a new contributing writer with CityBeat, I've decided to devote a few inches of precious space to introduce myself. Some have labeled me a "culture vulture," an insignia I wear proudly. I like nothing better than spending hours roaming traditional museums, exploring the wide open spaces of modern galleries or seeking out the difficult to find locations of alternative exhibition sites. Mix in a few nights at the theater, and I'm a happy soul.

I've spent 30 years absorbing art. I've indulged my art compulsion as a museum curator of contemporary art. I've also joined the ranks of the general public, attending exhibitions and events while earning my living as a fund-raiser. I did this during the '70s and '80s in New York; since the '90s I've been in Cincinnati.

My friends and colleagues will tell you my art addiction comes with strong opinions. Because CityBeat thrives in a town where voicing a strong opinion is treated like the plague, I know I'll fit right in. I believe constructive criticism is positive, and arts writing that merely promotes does a disservice to the art and the community.

CityBeat asked me to write personal observations inspired by what is happening over an extended period. Thus, I started my 2004 art travels with the luxury of no specific assignment and without a decision regarding which exhibitions I might focus on. I waited to be inspired.

With high expectations, fueled by the avalanche of press and the hefty adult admission fee ($18.50, plus parking), I entered the Cincinnati Museum Center for Saint Peter and the Vatican. What better place to look for spiritual renewal in the New Year?

The exhibition contains many beautiful objects that I enjoyed viewing, even in the unnecessarily dim lighting. The wall text panels and audio guide did a good job of explaining the architectural history of the Vatican, placing major events in church history in the context of world events. My visit coincided with that of a Catholic high school group, and I was encouraged to see the students actually reading this material and listening to audio guides.

But this exhibition was a missed opportunity. It did not communicate the awe-inspiring nature of the Vatican. A better exhibition would have swept visitors off their feet and moved them with the grandeur that is the Vatican. Catholic or not, the Vatican is a spiritual place -- an architectural masterpiece and a repository of masterpieces of Western art. Hokey reproduction of Michelangelo's working environment as he painted the Sistine Chapel sums up this exhibition's shortcomings.

Later in January, I made two visits to the new Contemporary Art Center to see their first exhibitions since the opening splash. I was familiar with the art of Polly Apfelbaum and looked forward to her mid-career retrospective. Since I lived through the art of the '80s, I welcomed a reassessment by curator Thom Collins, Political Art of the 1980s.

The Apfelbuam exhibition is just what the CAC needs to do on a regular basis. Bring in good exhibitions of living artists who are accessible to the public and have intellectual weight. That some of her pieces were site-specific or reconfigured to fit the CAC galleries worked well and made the exhibition a visual pleasure. Apfelbaum's large floor pieces have a sensual appeal, and their complex patterning holds your eye, as good visual art always does.

The '80s exhibition is disheartening. The curatorial premise of the exhibition was to highlight aspects of the '80s that the art power structure slighted and, in some cases, continues to ignore. But the crowded and disorganized exhibition layout and the difficult to decipher wall texts did a disservice to both the art and intended thesis. Such exhibitions speak to a few art insiders while totally confusing average viewers. Nonetheless, go see it and take your time. Look at each work of art individually and block out the surrounding visual clutter.

Fortunately, as the month of February began, we were reminded that "good things come in small packages," as well as "the best gifts are often homemade." The Aronoff Center's Weston Gallery is providing a wonderful pairing of contemporary print exhibitions featuring Cincinnati and Ohio-based printmakers.

In the upstairs gallery, most often used for sculpture, Weston Director Dennis Harrington has done an exceptional job of installing the 10 works on paper that make up Cincinnati Portfolio III. He has covered two interior walls with perfectly proportioned paneling. At night, from the street, the installation is especially appealing, drawing the pedestrian's eye into the gallery, just as the original designers of the Weston's exhibition program intended.

Cincinnati Portfolio III, produced by Mark Patsfall Graphics, features high quality, visually interesting and varied prints, by local talent. One of my favorites is by Michelle Red Elk, "Eka Eka Hayarokweetu Ibutu (Red, Red, The Four Directions)". She successfully exploits one of the simplest printmaking methods: woodcut. By dividing the single sheet of paper into four areas, she has presented and then related several images from American Indian history and mythology. The viewer "reads" the symbols in each section and strings them together into a narrative. Her gouged marks are raw and direct, her colors vibrant, and as a result, the story line is intense.

Downstairs at the Weston is The Method & the Matrix: Contemporary Printmaking in Ohio, an exhibition curated by Bellamy Printz and Todd DeVriese, supported by the Ohio Arts Council. Each of the 15 artists is represented by several prints. As you enter, there's an informative display of printmaking tools that includes wood blocks and etching plates.

From the start, the visitor is welcomed into the artistic process. There's also a simple introductory text panel and short labels about each artist.

It's not easy to fit 94 prints into this modest two-room space, but Harrington's installation is thoughtfully conceived so each artist is set off to best advantage. The overall installation has a rhythm and pattern that pleases the eye.

The quality of the work is exceptional. There's no denying that contemporary printmaking is thriving in Ohio. The exhibition offers much to look at, and most of it has a visual accessibility that does not come at the sacrifice of stimulating content.

One work of special interest is Holly Morrison's 20 or so small black-and-white prints illustrating a limited edition book with a letterpress text by Carolyn Fraser. The soft, warm tones of the photogravure process yield a series of evocative images. A woman floats in a dark pool of water, looking upward towards the light. A pair of hands offers small objects of nature. A woman wearing high waterproof boots rushes across a field. We want to know more.

Harrington and his assistant director, Kelly O'Donnell, do their jobs well -- excellent contemporary art, exquisitely installed with just the right amount of educational material.

I entered the Weston on a dreary winter day, seeking a much-needed lift. You can get a similar "art fix" at the Weston. ©