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.
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.
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.
What's happening to the arts audience in Cincinnati? Is it the same group of stalwarts -- loyal and interested but inevitably growing older -- or is there an infusion of new people with new expectations? Outreach/education people in Cincinnati arts join CityBeat for a roundtable discussion.
The Fine Arts Fund's Margy Waller wants to have a conversation with you about the kind of community you live in and want to build. About how you want your children to grow up. About how the region's arts and culture resources help you accomplish those goals.
Melissa Fields' installation of Polaroid prints is strung along two silvery clothes lines and is accompanied by a typewritten title on a dark crimson card. "The Day You Left" is an elegiac narrative in which glittery, blurry morning shots give way to seductive action that ends in dusky blackness.