When not showing the late Raymond Thunder-Sky's "outsider art" oeuvre, the gallery named for him aims to promote expressive work in the same spirit, regardless of the artist's background: self-taught, art-school graduates, with or without diagnosed disabilities. The current show features Antonio Adams and Tony Dotson, neither of whom have any formal art training.
With more than 25 artists, Country Club's current exhibition serves as a massive visual "think tank" that questions the relevance of traditional art methods (the painstaking use of physical materials and handmade objects) in a world where life increasingly is experienced through mass-produced items and virtual communications. 'Pictures and Statues' continues through July 31.
The house in your head — the one nobody can foreclose on — is probably an element of the internal life of each of us. But what happens when six artists zero in on explicitly externalizing their visions of such a place? The results are 'The House in My Head,' which fills downtown's Weston Art Gallery through Aug. 29.
A single iconic quote from scholar W.E.B. DuBois inspired Tavis Smiley to begin a monumental quest to present the most comprehensive examination of "the African American imprint" on American society. When DuBois asked, "Would America have been America without her Negro people?" the question wasn't quite so simple. Smiley's resulting exhibition is on view through Jan. 2.
Cincinnati Art Museum's 'Walker Evans: Decade by Decade' opens with a rather bold statement that Evans is "probably the single greatest American photographer ever to have worked in the 20th century." An introduction like that certainly raises the stakes for an exhibition. I don't feel that, taken alone, the show proves he was the "single greatest" of the last century, but I also don't believe that's the show's objective.
In her new installation-sized project done especially for the Contemporary Arts Center, artist Pat Steir attempts to unify her splashy, drippy vocabulary of painting techniques with the cool, detached personality of Zaha Hadid's architecture. Steir manages to expand the basic language of the building, but one doesn't feel directed through the entire experience. I watched a number of viewers make it only halfway down the space before stopping, as if unmoored and lost at sea.
Photography is the artform that has most in common with comedian Rodney Dangerfield. Historically, it got no respect. Late-19th/early-20th-century Pictorialist photographers pushed the idea of photography-as-art, and the new Taft Museum exhibition plants their flag immediately with its title, 'Truth/Beauty,' echoing a phrase from poet John Keats' 'Ode on a Grecian Urn.'
In a town where the local music scene often struts its stuff by releasing compilation CDs, it's fitting that the first-rate homegrown creative design community is also looking for a little deserved attention. 'Twelve-Way With Cheese' is a a wonderfully retro project hearkening to the classic styles and campiness of comic books from a golden pre-digital age, and it's a cheap thrill, just as a comic book should be.
Probably the most eagerly awaited regional art museum event this summer isn’t an indoor exhibition at all. It’s the debut (on June 20) of 100 Acres: The Virginia B. Fairbanks Art & Nature Park at Indianapolis Museum of Art. But more locally, the Cincinnati Art Museum and Dayton Art Institute both have great summer shows planned.
"Fringe suggests that (which is) set apart from work aiming at marketability. It probably has a tendency to disturb. Fringe won't answer questions, it will present them." So says Cincinnati artist Robin Stinetorf in his statement for this year's Visual Fringe Festival. He's one of six artists (five humans and a horse) to comprise the visual art appendage of the Cincy Fringe Festival at the Art Academy.
Right now, the Carl Solway Gallery has a show important to its remarkable history. Works from the Gallery Collection features pieces by more than 60 major artists who, as the 75-year-old Solway puts it, mostly are “people of my generation or close to it.” But what’s most impressive about the show is the close relationship Solway has had with many of the artists including John Cage, Buckminster Fuller and Nam June Paik.
In a first for the galleries, Country Club's Oakley and Los Angeles locations chose to present an exhibition concurrently, painter Fritz Chesnut's 'Peak and Flow,' offering different pieces from the same series. His new abstract paintings radiate a definite West Coast vibe, and they're on view locally through May 29.
Time has no shape, color or texture. It's non-spatial, constantly changing and invisible. How on earth could an artist hope to capture it? Manifest Gallery explores this elusive medium with the works of 19 artists in 'TEMPO,' curated by Jason Franz, and runs concurrently with 'Rites of Passage' featuring work by college students and recent graduates.
The Contemporary Arts Center's just-announced 2010-11 season continues its support of emerging artists — including Cincinnati-based ones — in a series of shows mostly curated by Director Raphaela Platow. But it will also feature a tightly focused retrospective of the work of the late Keith Haring as well as a group show with an A-list of contemporary artists, courtesy of a Mexican collection.
Simplified paintings of windows and doors have been sprouting across the boarded-up facades of derelict buildings around Over-the-Rhine and other inner city spots since last October. They're the work of Future Blooms, an unusual public-art program initiated by Keep Cincinnati Beautiful. In a small, localized way, it recalls the work of the Federal Art Project, part of the job-creation Works Progress Administration that existed as part of the New Deal during the Great Depression.