The Whitney Biennial is a bellwether of
new trends in the contemporary art world. Or, at least, on what is most
important in the eyes of the curators charged with choosing a particular
year’s participating artists — and what’s important to those artists,
For Alice Aycock, whose public sculpture can be found in cities and parks worldwide, “Super Twister” — her new aluminum-and-steel piece at the CARE/Crawley Building on the UC Medical Center campus — represents ideas about chaos she has spent a lifetime pursuing.
Art Museums, like any other civic institution, participate in lots of special “days” and other catchy events to get visitors. But Slow Art Day, which occurred April
12, was such a good idea — at least at Cincinnati Art Museum (CAM),
where I participated — that it should be instituted on a regular basis.
I came across the Slovenian theorist/writer Slavoj Žižek in the recent movie The Pervert’s Guide to Ideology,
in which he passionately used scenes from Hollywood movies to spotlight
his observations about the humanist struggle...
Two years ago, when Todd Pavlisko was in the process of creating his installation Crown by having a sharpshooter fire bullets past the Cincinnati Art Museum’s Icons of the Permanent Collection exhibit into a brass cube, there were questions to raise.
The recent $46 million
restoration/reinvention of Over-the-Rhine’s Washington Park is already
reaping artistic dividends — it’s responsible for a new musical tribute
to the transformative powers of landscape architecture.
Downtown, Over-the-Rhine and other city
neighborhoods are being colorfully transformed by the mural program
shepherded by ArtWorks. But a forgotten Downtown mural called “Allegro” —
a ghost of murals past — deserves recognition as not just one of
Cincinnati’s finest, but also as an enduring piece of public art,
Overall, I really enjoyed the Cincinnati
Art Museum under Aaron Betsky, the director who announced his
resignation Jan. 2 and will stay until a replacement is found. But there
were a couple weaknesses that ought to be addressed by a successor,
with the support of the trustees.
New exhibitions director Matt Distel’s
first big show at The Carnegie gallery in Covington, Ky., which opened
last week, is important in its own right as well as for what it says
about Distel’s curatorial desires for the institution.
The Cincinnati Art Museum lately has been
concentrating on what it calls “node” shows — small-to-medium-size
exhibitions and gallery changes highlighting its collection or local
angles. The bigger shows with a
national/international focus will return in a year or so when the new
Western & Southern Gallery for special exhibitions is complete.
The opening of a new show can be a tense,
contentious time for an artist. Doubts arise: “What do the public and
critics think? Does this show really work?" But at the Contemporary Arts Center’s recent opening of her show by every wind that blows, Diane Landry was above all that. Literally.
Shawn Patrick Tubb’s Master of
Architecture thesis at University of Cincinnati’s College of Design,
Architecture, Art and Planning was to develop a reuse for Downtown’s
Modernist landmark, the Terrace Plaza. Except for some arcade-level
shops, it had closed to the public as he was beginning his work in 2008.