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The Alternative Field Guide (Review)

The Lloyd Library inspires imaginative works of art

0 Comments · Wednesday, November 19, 2008
The Lloyd Library doesn't receive as much foot traffic as the public library a few blocks away. Most people probably don't realize that its quiet Plum Street building houses a phenomenal collection of medical, botanical, natural history and travel books dating as far back as the 15th century. Book artist Kate Kern served as artist-in-residence at the Lloyd Library over the summer, and works of art resulting from her stay, made mostly by non-artists, are now on view through Dec. 30.  

Making the Old New Again

Commitment to classical methods pays off for young painter

0 Comments · Wednesday, November 12, 2008
Jahaziel Minor's senior exhibition at the Art Academy of Cincinnati last April presented something remarkably different from other recent undergraduate shows. It focused on one large painting and the nearly 20 preparatory drawings and oil paintings he made to develop the final canvas.  

Aesthetic Comfort (Review)

Ryan McGinness illuminates contemporary culture and art history

0 Comments · Wednesday, November 12, 2008
Ryan McGinness' exhibition of new paintings creates an optical second reality in the Vance-Waddell Gallery at the Cincinnati Art Museum. He uses florescent paint to create a three-dimensional effect. The illusion is so believable that it's hard to imagine anyone not itching to touch the panels.  

China Design Now (Review)

CAM exhibition reveals the last two decades of design in China

0 Comments · Wednesday, November 5, 2008
Many Westerners received their introduction to modern China during the 2008 Olympic games. Television viewers witnessed the results of an architectural explosion in Beijing, and innovative structures like the Bird's Nest and the Water Cube became instant cultural icons.  

The Clouds Are After Me (Review)

Kambui Olujimi indicts all of us in his solo show at UC

0 Comments · Wednesday, November 5, 2008
What this means is not at all simple. The papers are painted beautifully in the loose but contained way of a lot of art right now. It's also politically charged. But bringing the two together makes something consuming. We, as viewers, stand face-to-face, surrounded by the criminal acts of our generation.  

Houdini's Box (Review)

Art Beyond Boundaries Gallery celebrates the magic of photography

0 Comments · Wednesday, October 29, 2008
"The theme of 'Houdini's Box' is all-encompassing," explains Jymi Bolden, director of Art Beyond Boundaries Gallery. He put this exhibition together to showcase a diverse range of photographers working with film and digital techniques in what he calls "a magic act."   

Unusual Journey

The Dayton Art Institute looks at Children in American Art

0 Comments · Wednesday, October 29, 2008
It begins with a strange and stiff little figure from the 17th century, "Robert Gibbs at 4-1/2 Years." Young Gibbs appears as a miniature adult, in the fashion of the times, holding gloves as his father might, painted by an artist known only as the Freake-Gibbs painter.  

Beyond Pictorialism (Review)

Doris Ulmann documented rural Americans in the 1920s and ’30s

0 Comments · Monday, October 20, 2008
Designsmith gallery's 15-photo collection "Beyond Pictorialism" is one of the largest exhibitions mounted in the past 15 years of this little-known photographer’s work.   

Children in American Art (Review)

Dayton Art Institute offers unusual journey through changing concepts of childhood

0 Comments · Monday, October 20, 2008
In what could easily have become an exhibition larded with cuteness, the Dayton Art Institute presents childhood as interpreted by American artists from the 17th through 20th centuries.  

Illusion and Reality (Review)

Cincinnati Art Museum shows off the work of Jiri Anderle

0 Comments · Wednesday, October 15, 2008
Turning adversity into a virtue is something artists are good at. The adversity of being an artist in a Communist society that forbad direct social criticism steered Anderle into a body of work well suited for comment on the human condition. So prints became Anderle's dominant form of expression through much of his career.  

Maria Lassnig (Review)

Exhibition of Austrian painter opens new season at the CAC

0 Comments · Wednesday, October 8, 2008
It is astonishing that Maria Lassnig, whose work is presented in an impressive solo exhibition at the Contemporary Arts Center (CAC), is widely unknown in the United States. She is an influential force throughout Europe, working in Vienna for the past few decades.  

Who Owns the World? (Review)

Ohad Meromi takes over Country Club Gallery

0 Comments · Wednesday, October 8, 2008
Ohad Meromi is part of a group of Israeli artists who migrated from Tel Aviv to attend Columbia University's graduate program. Matt Distel previously made us aware of this group when, while working at the Contemporary Arts Center, he brought Guy Ben-Ner's work there in 2005.  

The Bold, Beautiful and Bizarre (Review)

Carnegie's season-opening exhibition lives up to its name

0 Comments · Wednesday, October 1, 2008
Colors are usually spot on, with little meandering between, say, blue and green, and shapes are polygons of considerable variety, in some cases relaxing into curves with a whiff of Art Deco. Meanwhile, in one of the four upstairs galleries, Kelly Jo Asburys paintings havent a hard edge in them.  

Together Again

The Weston revisits Publico in

0 Comments · Thursday, September 25, 2008
Posters announcing fund-raisers were designed with an eye to the vintage: coin cans, retro typefaces, "Everything must go!" jargon. Publico's street sign, a light box with black san serif letters, taken from its original spot and replaced in the Weston, becomes an ironic flashback.   

Natural's Not In It

Lynda Benglis' printmaking retrospective is a wild dance between nature and decoration

0 Comments · Tuesday, September 23, 2008
They’ve created several amazing wall compositions in which arrays of prints bear strong resemblance to a central sculptural or relief work. Yet there is some degree of irony that Benglis’ art — historically associated with Post Minimalism — would appear so densely.