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.
If you still have doubts as to whether computer-generated art can actually be true art, look in on McCrystle Wood's 'Jardin Femme' at Clay Street Press. The 21 computer-created archival digital prints, each in an edition of five, capture both the eye and the mind of the viewer. They're beautiful but not "pretty" and intellectually exciting without being didactic.
'Disturbing Reality' at the Weston Art Gallery is as much a group therapy session as a group exhibition. In addition to the expected scenes out of a child's anxiety closet, there are a surprising number of cathartic, even comforting, images. The nine artists in this circle seem to feed off one another.
In Country Club's current group show, much of the work is flat-out beautiful, while what isn't is still rewarding because it gives you plenty to think about. The show, continuing through April 10, resonates from artist to artist and is a pleasure to explore.
Colored pencil art works? By grownups? If you thought the colored pencil was an artistic medium reserved for grade school, members of the Greater Cincinnati Chapter of the Colored Pencil Society of America will be quick to dissuade you. The group has a show up at the downtown YWCA right now that features multiple works from more than a dozen artists.
To see just how extensively appropriation is being used in contemporary art, it's useful to compare and contrast two traveling shows now in Cincinnati: Kara Walker's 'Harper's Pictorial History of the Civil War (Annotated)' at the Cincinnati Art Museum and Shepard Fairey's 'Supply and Demand' at the Contemporary Arts Center. The term "appropriation" is used to describe new art that incorporates in some way a pre-existing work into its imagery.
When it was announced last year that Shepard Fairey's traveling solo show 'Supply and Demand' would stop at the Contemporary Arts Center, it immediately seemed a masterstroke for the museum. One component of this exhibition involves Fairey working in public spaces and on mural projects, but not unauthorized graffiti. He and his crew ended up erecting seven paper murals downtown and in Northside.
Windmills, wooden clogs and tulip mania — that which we consider quintessentially Dutch might have a little something to do with American nostalgia. The Taft Museum of Art explores America's fascination with the Netherlands in 'Dutch Utopia: American Artists in Holland, 1880-1914.'
In Bolotin’s world, art is untrammeled by category. This internationally recognized Cincinnati-based artist creates stories by making drawings, bas-reliefs, music and films. The current form of what will become the second section of the Jackleg Testament trilogy spills across gallery walls in an installation he calls “Leaves from a Cast Paper Novel.”
When it was announced last year that Shepard Fairey's traveling solo show Supply and Demand would stop at Cincinnati's Contemporary Arts Center, it immediately seemed a masterstroke for the museum. Once it opens Friday (continuing through Aug. 22), we'll see if the attendance and community interest live up to expectations.
It's hard for our generation to imagine controversy over color photography. In a day and age when many art schools have shut down their darkrooms in favor of digital, color is taken for granted. The Cincinnati Art Museum's 'Starburst: Color Photography in America 1970–1980,' opening Friday, explores when several artists changed the face of art photography forever.