Last night before photographer Roe Ethridge's FotoFocus Lecture at Cincinnati Art Museum, FotoFocus' Artistic Director Kevin Moore announced the organization is co-presenting a two-day symposium on photographer Robert Mapplethorpe's work with the Contemporary Arts Center on Oct. 23-24.
It will mark the 25th anniversary of CAC's presentation of The Perfect Moment, the retrospective of Mapplethorpe's work that prompted conservative elements — led by then-Sheriff Simon Leis Jr. — to pursue criminal charges for alleged obscenity. (Some of Maplethorpe's work in the show was sexually graphic.) A Hamilton County jury cleared the museum of all charges.
Specifics for the symposium have yet to be announced, although indications are speakers from around the country will be invited. Also not yet announced is what, if any, works by Mapplethorpe will be shown and in what context.
Information should go on on the FotoFocus site when firm.
One of my favorite Cincinnati artists is Rondle West, whose "assemblage sculptures" round up all manner of strange found objects (often toys) and adheres them, sometimes like appendages, to the surfaces of "host" objects. They can look like something ready to start walking or like shelving that has been attacked by miniature aliens. The finished work often has a monochromatic, other-worldly appearance.
I was hopeful his association last year with Miller Gallery would lead to a large, dramatic, high-profile one-person show, but it didn't. Now, the 2014 piece "My Date With Barbie" has turned up in an unexpected but welcome place, the front window of Electronic Arts at 1428 Race St. It's just the right touch of creative weirdness needed for an OTR store window, and it's great to look at its pinkness as other buildings reflect on the glass and add their own richness to the view. Definitely worth a visit.
Selena Reder, a former contributor to CityBeat's visual arts coverage, has curated the current Figurative Folklore exhibition at the City of Covington's gallery at 2 W. Pike St. It's devoted to six artists whose figural work tells a strong narrative. Particularly noteworthy at the show is the work of two artists who do three-dimensional work.
Ken Page brings a sense of fun an visual playfulness to his "Hole in the Wall," a sculpture that is like a small wall shelf. On that shelf a boy — carved and painted — has apparently cut a circle out of the painted "brick" wall behind him and is attempting to "roll" it away. It is not a kinetic piece, thus the necessity for those air quotes as the sense of movement is illusory. It's quite well done.
The absolute standout of this show is Stephanie Cooper — who has six pieces, some quite large. These are wood sculptures with added elements. I hate to call them carvings, as that implies folk art and these use folk art as a reference point to build from.
Her "He Who Sups With the Devil Needs a Long Spoon" features a dapper, well-dressed man at a dining table (he looks a bit like Ronald Reagan) holding a spoon. You can hand-crank the spoon to get some movement. And "Hermes" — a large piece with a height of 76 inches — is a scary wooden figure from whose head sprouts a tangle of twigs and roots, like a bird's nest.
Her other contributions, too, are good.
This show is on display through March 27. Gallery hours are 9 a.m.-5 p.m. Monday-Friday. You may find a note on the door to call a city employee to come and unlock the place (a number is provided), but it's worth it. And the employee's office is just a short distance away — I waited at most five minutes for her arrival.
Shinji Turner-Yamamoto's 2012 Global Tree Project: Hanging Garden — two trees suspended by wire inside Mt. Adams' deconsecrated (and crumbling) Holy Cross Church — is now generally recognized as one of the high points of public art in Cincinnati in recent years.
In addition to proving inspirational for us in terms of what large-scale, site-specific art can be and what local artists can accomplish, it also has attracted ongoing international attention for him.
The latest development is his inclusion in an exhibition, About Trees, opening this fall at the Zentrum Paul Klee museum in Bern, Switzerland. For his site-specific work in the museum's main hall, he will work with a dying linden tree on the museum grounds.
The exhibit — part of a trilogy of related shows that continues into 2017 — is dedicated to the tree as a motif in international contemporary art. Turner-Yamamoto finds himself in some very impressive company. Others with work in the show include Paul Klee, Carlos Amorales, Louise Bourgeois, Paul McCarthy, Ana Mendieta and Shirin Neshat.
Meanwhile, a large-scale photograph of the Hanging Garden installation was commissioned by Caroline Kennedy, U.S. Ambassador to Japan, for the ambassadorial residence in Tokyo as part of the Art in Embassies Program.
Also, he will have a show at the Weston Gallery here next year.
The FotoFocus Lecture and Visiting Artist Series at Cincinnati Art Museum will feature photographer Roe Ethridge on March 25 at 7 p.m.
According to FotoFocus, Ethridge — who works in both commercial and fine art photography — draws upon the descriptive power of photography and the ease with which it can be accessed, duplicated and recombined. He is considered a post-Modernist.
His work has been shown in such venues as MOMA/PS1, London's Barbican Center, Carnegie Museum of Art Boston's Institute of Contemporary Art, the 2008 Whitney Biennial (2008); and the Museum of Modern Art. In 2011 he was a finalist for the Deutsche Börse Photography Prize.
presentation at the museum is free and reservations are not required, though
parking for non-museum members is $4. More info here.
Aaron Betsky, who stepped down from his post as Cincinnati Art Museum director last year, has a new job: Dean of the Frank Lloyd Wright School of Architecture.
a press release, Maura Grogan, chair of the Frank Lloyd Wright School's
Board of Governors, said, "We sought a Director who, like Wright,
relishes invention, challenge, and discovery; someone who is excited to
chart architecture's next frontier; a person who in a time of conformity
understands the beauty of idiosyncrasy; a leader who is ready to speak
enthusiastically and persuasively to a profession in need of direction.
It is clear to us that Aaron is that person."
Betsky will lead a fundraising campaign to help the school become an autonomous independent subsidiary of the Frank Lloyd Wright Foundation, as required by the Higher Learning Commission for it to continue its accreditation.
Delving into Modernism’s relationship to today’s Contemporary artists, Cincinnati Art Museum in 2016 will present the traveling show MetaModern. It is organized by Krannert Art Museum at the University of Illinois at Urbana-Champaign in collaboration with curatorsquared of Winter Park, Florida, and Boston. In Cincinnati, it will be curated by Amy Dehan, Decorative arts and Design curator, and Matt Distel, adjunct Contemporary curator.
According to the website of the Krannert, where the show opens on Jan. 30, the participating artists “adopt the actual vocabulary of the modern movement to question the content of style and its relationship to history. Their work challenges the tenets of modernism head-on. Some of them recast iconic forms in materials that inherently question the precepts of the originals.”
Among the 20 international artists are several familiar names to Cincinnati Art Museum visitors — Jill Magid, whose videos are in the current Eyes on the Street exhibit, and photographer James Welling, subject of a 2013 exhibit. Other participating artists include Terence Gower, Conrad Bakker, Edgar Orlaineta, Gabriel Sierra, Kendell Carter and Fernanda Fragateiro and Barbara Visser.
In Cincinnati, the curators plan to borrow Mid-Century Modern design objects and graphic works from local collections to show with the traveling exhibit’s new art that, in essence, comments upon the older work.
Thus, the show here will connect Modernism with today’s (Postmodern) Contemporary art. The local curators also hope the show educates the public that Cincinnati has a strong tradition of support for Modernist art, design and architecture, which is now enjoying a revival
The tentative dates for the Cincinnati exhibition are June 18 to Sept. 11, 2016. Other cities planning to present the exhibit are Scottsdale, Ariz., Orlando, Fla., Palm Springs, Calif., and Marquette, Mich. (home of Northern Michigan University).
National Gallery, the latest film by the great American documentarian Frederick Wiseman, will get a free screening at Cincinnati Art Museum at 1 p.m. on Jan. 25, 2015. No tickets or advance reservations are required.
Typical of Wiseman’s inquisitively reportorial and humanistic work, this carefully and thoughtfully takes viewers inside the world of London’s National Gallery — one of the world’s finest museums. The film is three hours long.
Wiseman, who is 84, has been making films that carefully examine societal institutions — cultural, social, educational, medical and political — since his 1967 landmark Titicut Follies, about life inside the Bridgewater State Hospital for the criminally insane in Massachusetts.
His much-lauded more recent films — which did not have a showcase theatrical screening in Cincinnati — include last year’s At Berkeley and 2009’s La Danse, about the Paris Opera Ballet.
That National Gallery will be presented in a theater here — the art museum’s auditorium holds some 300 — shows the ambition of the museum’s associate photography curator, Brian Sholis, to offer more and a wider variety of films as part of his programming.
A lower-profile (compared to National Gallery) presentation last Sunday of a new documentary about digital photography, Harvey Wang’s From Darkroom to Daylight, brought a surprisingly good turnout of 55 people to the art museum’s library.
Edwin G. Fischer, M.D., President of the Board of Directors of the Redwood Library & Athenæum, announced the appointment of Benedict Leca, Ph.D., as its new Executive Director, effective January 15, 2015, following a competitive national search.
“This is tremendous news for the Redwood,” stated Dr. Fischer, “An expert in 18th-century art, history, and material culture, Benedict is uniquely qualified to move the Library into the national spotlight as a center of thought and culture. He has a wealth of experience and is extremely well-suited to lead this 268-year old cultural institution.”
As Executive Director, Leca will articulate and advance the Redwood’s historic mission as a hybrid cultural institution with “nothing in view but the good of mankind.” Building on the Redwood’s unique position as a catalyst for dialogues about education across periods and disciplines, Leca’s work will focus on fully realizing the opportunities inherent to the athenæum model through an expanded array of public programs, forums, and exhibitions—both on-site and on-line—that will foster networks of intellectual exchange locally, regionally, and around the world.
Prior to his current tenure at the Art Gallery of Hamilton, Ontario, as Chief Curator and Director of Curatorial Affairs (2012-14), Leca was Curator of European Painting, Sculpture and Drawings at the Cincinnati Art Museum.
He was the first Andrew Mellon Post-Doctoral Fellow in the French Paintings department at the National Gallery of Art in Washington (2003-2007), and served on the staff of the Fogg Art Museum, Harvard University (1999-2000). Mr. Leca also currently holds the position of Adjunct Assistant Professor of Art History in the School of the Arts, McMaster University in Hamilton, Ontario.
Mr. Leca has curated many important exhibitions: Charles-Nicolas Cochin: Draftsman of the Enlightenment (2003); Rembrandt: Three Faces of the Master (2008); Thomas Gainsborough and the Modern Woman (2010—2011); Monet in Giverny: Landscapes of Reflection (2012); The Painter Pictured: French Nineteenth-Century Paintings and Portrait Photographs (2013); the current The World is an Apple: The Still Lifes of Paul Cézanne, executed in partnership with the Barnes Foundation, Philadelphia (2014-15), and the forthcoming Illuminations: Italian Baroque Masterworks in Canadian Collections to be held at the Art Gallery of Hamilton and the Art Gallery of Alberta, Edmonton, in 2015.
(Thanks to Judith H. Dobrzynski's Real Clear Arts blog at http://www.artsjournal.com/