Heiress Marjorie Schiele studied and
practiced art and befriended early-to-mid 20th century European
avant-gardists. She also, later in life (she died at age 95 in 2008),
decided to leave her estate to the Cincinnati Art Museum.
I loathe clockwatching — or so I thought, until I saw three hours worth of Christian Marclay’s amazing The Clock,
a 24-hour art installation/video collage at Columbus’ Wexner Center for
the Arts, on the Ohio State University campus through April 7.
Pages of History: 80 Years at the Taft was on view Aug. 10-Jan. 6, and I saw it on the last day. I found it so fascinating — and such a role model for a show about a cultural institution — that it’s worth discussing even though it’s over.
To say that 2012 was a great year for art
films isn’t just a reference to the kind of foreign and American-indie
narrative features, like Amour or Your Sister’s Sister, that are too thoughtful to play the multiplexes.
It’s never too
late in the history of humankind for a new Christmas tradition —
especially if it comes out of the world of edgy, avant-garde
participatory performance art. Edgy, avant-garde and fun participatory performance art, that is.
If you drive to Columbus by Dec. 30, you can see a photography show — Annie Leibovitz
— that serves as the culmination to the journey through
celebrity/fashion photography begun by three FotoFocus-related museum
I hope the inaugural FotoFocus, which has
formally concluded although related exhibits still are up around town,
was successful by the standards of its organizers, and that they are
eager to plan for the next one in 2014.
On Monday, Todd Pavlisko conducted his
commissioned artwork — a video piece he’s calling “Docent” — in which a
retired military sniper fired a secured high-powered rifle inside the
first floor of the Cincinnati Art Museum.
Laurel Nakadate, a celebrated New York-based photographer/videographer/filmmaker/performance artist, will deliver the FotoFocus Lecture 7 p.m. Oct. 24 at the Cincinnati Art Museum. She will be telling stories and showing slides about her work this century.
When Sarah Vanderlip — winner of
Cincinnati Art Museum’s first Marjorie Schiele Prize — arrives here for
the Sept. 29 opening of her show, it will be an Ohio homecoming, a full
circle of sorts, for the California artist.
I first met Matthew Shelton in the bottom of a swimming pool. It was a program in which musicians performed on the floor of the empty Ziegler Pool in
Over-the-Rhine. Shelton, with his deep resonant voice and wry, smart
songs, made an immediate impression playing guitar in the pool’s deep
end. He towered above — or, rather, below — his surroundings.
The most profound and beautiful art
installation of recent years in Cincinnati — an inspiration for what
public art here can be — was Shinji Turner-Yamamoto’s 2010 “Hanging
Garden.” It continues to have an afterlife.
An interesting battle about the future of
contemporary art — and what should be shown in museums devoted to it —
is occurring in Los Angeles right now, where the director of the Museum
of Contemporary Art is accused of leaning too heavily on pop
culture/celebrity trendiness for his shows.
If you want to learn about one of the
biggest and most unusual public-art projects ever proposed for
Cincinnati, see the display related to “The Soap at Baton Rouge” at Carl
Solway Gallery’s current Thanks: 50th Anniversary Celebration.