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by 12.29.2008
Posted In: Visual Art at 02:18 PM | Permalink | Comments (0)
 
 

Buried Under the Museum Center's Green Roof

Today, the Enquirer posted a story about the Cincinnati Museum Center considering the addition of a 11,200-square-foot green roof system, which is an awesome prospect. The roof would be covered with plants, could last longer than a normal roof, and would better deal with storm run-off.  Not only that, but it would double the amount of green roof space in the city. 

But buried at the bottom of this article is mention of another part of the issue.  "The other components of the center's project - funded by a $2.4 million local tax levy, the city of Cincinnati, the state and a National Parks Service program called Save America's Treasures - include restoring long-unused dining rooms and exterior repairs," the article states.

It's the National Parks Service program that I think deserves a little more attention.  Frankly, it seems amazing, not only for what it has done for the country, but for what it has done for Cincinnati.

Save America's Treasures (SAT) was started in 1998 and has the directive of "protected America's threatened cultural treasures," like a governmental, art-saving Boondock Saint.  Actually a daughter organization of both the National Parks Service and the National Trust for Historic Preservation, it has completed more than 850 projects since its creation with what seems like a focus on architecture.

In Cincinnati alone, the SAT in 2003 granted $199,000 in 2003 to the Majestic Theater, $250,000 to the Cincinnati Union Terminal, $150,000 to The Showboat Majestic.  And in 2005, they granted $135,250 to restore Joan Miro and Saul Steinberg Murals from Terrace Plaza Hotel and get them on display at the Cincinnati Art Museum.

This 11 x 75 ft mural by New Yorker artist Saul Steinberg is one of the only murals he made.

What other badass art has the SAT helped saved, you might ask. Well, how about the Palace Theatre in Columbus. Not a theater buff, what about the The New York Philharmonic Leonard Bernstein Collection. Still not impressed, what about the Moundville Archaeological Park in Tuscaloosa, Alabama. Oh, you're more into recent history, they gave$295,586 to the USS Joseph P. Kennedy in Massachusetts. Maybe you just like to party, in 2006 Gadsby's Tavern in Alexandria, Virginia got about $50,000 . And my personal favorite, in 1999 they granted $331,000 to save the Anti-Slavery Pamphlet Collection in Ithaca, New York.

The collections of dances, photographs and other documents that have been touched by Saving America's Treasures is astounding, not to mention the dozen of courthouse they've helped to restore across the country.

Just check them out. Our government isn't complete screwed up all the time.

 
 
by Steven Rosen 04.03.2013
Posted In: Visual Art at 09:39 AM | Permalink | Comments (0)
 
 
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Patti Smith's CAC Show Will Be a Robert Mapplethorpe Tribute

Although the Patti Smith exhibit that will open at downtown’s Contemporary Art Center on May 17 has been announced for some time, the details are only now becoming known. It will be a tribute to her close friend, the late photographer Robert Mapplethorpe.

He is a subject whose resonance is great for both Smith — whose 2010 National Book Award-winning memoir, Just Kids, recounted their friendship as young people in New York’s art world and is being made into a film and the CAC, which famously faced (and beat) obscenity charges in 1990 for showing the Mapplethorpe retrospective The Perfect Moment.

In a phone call from London where she is studying for a Master’s degree in global art Adjunct Curator Justine Ludwig (the exhibit’s curator) revealed some details of the planned show. It will be called The Coral Sea, after poetry Smith wrote about Mapplethorpe that she later recorded with guitarist Kevin Shields. (She will be performing The Coral Sea on May 18 at Memorial Hall. Go here for ticket information.)

“It’s very much a rumination on the life and death of Robert Mapplethorpe,” Ludwig said of the exhibit. “So there are a lot of objects in the exhibition that very much relate to his life. We’ve received things like Robert’s slippers that have his initials on them, and photographs of Robert from throughout his life. So it really focuses on the relationship between these two artists.

“It comprises of installations, photography and writing,” she said. “We’ll be showing part of the original manuscript of The Coral Sea that Patti wrote about Robert. We’re going to see a connection between the two artists throughout the exhibition. She has this very beautiful handwriting that is an art form within itself.

“There are medals, necklaces that Robert wore,” Ludwig continued. “There is an inkwell. There are small elements that will be presented in cases in the exhibition. It’s presented very much like an art installation. They’re not necessarily presented as historical objects but as elements that are part of Patti’s life.”

There are also photographs Smith took of and about Mapplethorpe. “Patti never took photographs of Robert’s face, she took photographs of his hands,” Ludwig said. “We’ll have a few (of those), and then a few photographic works that are more in reference to Robert but not of him.

“And we have an installation within the show called ‘Infirmary,’ which is all steel beds that are references to the beds Robert spent the end of his life in and that many people who died from AIDS passed away in. They are actual steel beds acquired by her.” (Mapplethorpe died from AIDS in 1989.)

The “Infirmary” portion is an expanded, site-specific adaptation of an exhibit Smith presented at the 2008 Melbourne International Arts Fair. There is also a “Coral Sea Room” in the CAC show that will feature video and music.

The show will have several photographs by Mapplethorpe with text by Smith – of the sea, a boat and a sculpture. (None was in The Perfect Moment.) “They’re very beautiful,” Ludwig said.

 
 
by mbreen 01.31.2009
Posted In: Comedy at 12:14 AM | Permalink | Comments (10)
 
 

Letterman Makes Amends With Bill Hicks

Jan Leno bores me, I dig Jimmy Kimmel and I think Conan is the king of late night (even before he takes over Leno's show in the very near future). David Letterman is the Jack Benny and Johnny Carson of our times, all rolled into one.

Last night, Letterman showed his class, his legendary status and his sense of history by having Bill Hicks' mother on and then playing the legendary Hicks' appearance he originally censored some 16 years ago. Hicks had a career-making appearance on Letterman's show, and it was "banned," as Letterman said last night, by himself. Hicks, disappointed by what had happened, died soon after the show's non-airing.

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by Steve Rosen 10.24.2012
Posted In: Visual Art at 12:38 PM | Permalink | Comments (0)
 
 
inside a contained container

Even Without a Chicken Dance, FotoFocus is a Worthy ‘Octoberfest’

From now on, when anyone mentions “Octoberfest” in Cincinnati, I’m going to think first of FotoFocus. This year, its first, it has clearly established itself as an artistically meaningful and rewarding addition to Cincinnati’s cultural calendar. The next is planned for 2014.

It is also, like that other Oktoberfest (which actually occurs in September), fun. No, it doesn’t have the World’s Largest Chicken Dance, but it may have come up with something even better in Contained: Gateway Arts Festival, which opened last Saturday and continues with limited hours through Nov. 3.

It was produced by the Requiem Project, which is managing and hoping to restore Over-the-Rhine’s Emery Theatre (where there is a Mike Disfarmer photo exhibit that I blogged about last week). Saturday’s opening was hampered by cold weather that kept attendance small on the grounds of Grammer’s in Over-the-Rhine. (Grammer’s is a place that’s probably seen quite a few Oktoberfests in its day.) But the weather didn’t dampen the creative imagination that went into the event.

Using 11 trailer-size steel shipping containers as gallery walls, artists displayed their photography and video-based work, some interactive, as visitors wandered in and out. The standards were quite high and one project — David Rosenthal’s “Everything at Home Depot (Series)’’ — struck me as outstanding.

Installed in vertical pieces on fiberboard along the interior sides of the container, the color heat-transfer prints set out to do what the title suggests. In this environment — with the container’s metal sides, the wood floor and glaring fluorescent lights – the whole project looked just right — a melding of the artistic and the industrial, the soulful and the soulless. If this is part of a larger series (as the title suggests), it deserves to be seen in total. But one hopes future showings will get an environment as cool as this.

In a corner of the grounds, behind one crate and out of direct view, a band played suitably spacey music. After awhile, musicians moved atop a crate to play music with a pronounced electronic component. Meanwhile, video projections were displayed high off the building’s sides — you could see the images when approaching the site and it was really exciting.

The whole festival, itself, worked as an art installation. It will be open again this Friday from 6-10 p.m. (it’s ideal at dark), 2-5 p.m. Saturday and Nov. 3 by appointment at info@emerytheatre.com. It’s definitely worth a visit, even if not that easy to get to.

Another show you need to see — partly because of its excellence and partly because it’s in a space rarely open to the public — is the Using Photography exhibit at downtown’s Michael Lowe Gallery. He is a private dealer, so it’s a treat to see his elegant, uncluttered two-floor gallery open to the public. Drawing on his own collection, he’s put together a show that works as both top-notch fine-art photography and as a historical exhibition.

In this case, the history that the show addresses is that of the conceptual/performance art world of the 1970s. Pivotal names in international contemporary art’s development are represented here — Marina Abramovic, Vito Acconci, Gerhard Richter, Michael Kelly, Ed Ruscha, Gilbert and George and many more.

With the richness of work represented, and it way it stretches our definition of photography and time-based art, it’s one of FotoFocus’ best shows. To just pick one piece, I was especially moved by Christian Boltanski’s five touched-up photographs comprising 1974’s “Anniversaire,” or “The Birthday.” I am used to the French artist’s solemn, sobering, heart-rending installations that use photography to remember the Holocaust. They are so strong you wonder if they must drain the artist of all joie de vivre. Yet here he is happy in this work, and the meaning of that happiness is revelatory if you know his history. Even if you don’t, it’s a generous and warm piece.

This show originally was going to be open just briefly, but Lowe has agreed to stay open noon-4 p.m. weekdays through the end of the month. His gallery is at 905 Vine St. Plan a downtown lunch trip around it.

Meanwhile, only up through this Thursday is Photogenus at the Reed Gallery inside University of Cincinnati’s College of Design, Art, Architecture & Planning. Put together by Jordan Tate, DAAP photography professor, and gallery director Aaron Cowan, this looks at how today’s international artists use photography in a digital age. 

It’s a nice companion to Lowe’s show, as one chronicles breakthroughs from the 1970s (some of which we’re still trying to understand) and one shows how today’s international artists are using photography to make new breakthroughs. Much of it is quite out-there and left me quizzical about individual work’s obscure intent and technique.  But some were very striking, like Anthony Lepore’s pairing of a photo (an archival ink print) of a salt field with a piece of carpet of roughly the same color.

I had written earlier about how eager I was to see Nancy Rexroth’s photographs at downtown’s YWCA Women’s Art Gallery as part of FotoFocus. The show consists of previously unprinted images from her influential Iowa project of the early 1970s — she used a toy camera to capture fleeting glimpses of everyday life in rural Ohio.

There was always the chance the black-and-white work had been left unprinted for a reason all these decades, but I’m happy to report it’s an excellent, evocative show — underscoring just how strong a body of work Iowa is. Besides the ghostly “Clara in the Closet, Carpenter, OH,” previously published in CityBeat, I also loved “House Vibration, Dayton, OH, 1976,” in which the blurry focus produces an unsteady image that makes one think an earthquake is occurring. It’s a great metaphor for the here-today-gone-tomorrow nature of life. This show will be up through Jan. 10 — Rexroth shares the space with Judi Parks and Jane Alden Stevens.


Watch for Contributing Visual Art Editor Steven Rosen’s FotoFocus blog postings all month. Contact him at srosen@citybeat.com.
 
 
by Rick Pender 03.13.2009
Posted In: Theater at 10:11 AM | Permalink | Comments (0)
 
 

Stage Door: Don't Be Afraid of Friday the 13th

There's nothing unlucky about Friday the 13th in the theater world. (Theater folks have enough other superstitions anyway.) So you have lots of excellent choices this weekend, from the very funny The Foreigner at the Playhouse (just opened) to the satiric Timon of Athens at Cincinnati Shakespeare (see review here).

If you want a heavy-duty drama, try Bent at New Stage Collective (it's about the mistreatment of gays in Nazi concentration camps; see my review here). And if you want to see some of the talent that keeps spilling out of UC's College-Conservatory of Music, I recommend that you stop by the Over-the-Rhine nightclub Below Zero tonight after 10 p.m.

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by Rick Pender 07.06.2012
Posted In: World Choir Games at 09:49 AM | Permalink | Comments (1)
 
 
world-choir-games

World Choir Games: 'Global Harmony'

Masonic Center performances high quality and appreciated

On Thursday evening I slogged through the humid, 100 degree soup of downtown Cincinnati to hear a World Choir Games concert at the Masonic Center on Fourth Street (next door to the Taft Theatre). I've lived in Cincinnati for 32 years and covered lots of arts events, but I've never set foot inside this honeycomb of stages, halls and meeting rooms. The sold-out event I attended, "Global Harmony," was in a steeply sloped, floridly decorated auditorium that seats approximately 1,000 people. A four-step set of risers was set up in front of a proscenium with a curtain; the scenery was provided by three choirs, two international groups — the Diocesan Schools Choral Society from Hong Kong and the Stellenbosch University Choir from South Africa — both highly recognized ensembles at the 2010 World Choir Games in Shaoxing, China. The third choir had a shorter trek to Cincinnati; the Capital University Chapel Choir, about 80 singers strong, came from Columbus and held its own with the two groups from other continents.

The Hong Kong group, roughly 120 high school boys and girls, offered a beautiful, restrained program of earnestly conceived works performed with polish, some religious and some literary (the latter included a piece based on Robert Burns' poem, "My Love is Like a Red, Red Rose"). The singers from Capital University had the men attired in black suits, shirts and ties, the women in long dresses with identical bias-cut necklines but in varying colors, bright blue, maroon and navy. Their program was an interesting mixture of pieces, with several uptempo numbers — a lovely song by Dolly Parton, "Light of a Clear Blue Morning," that featured a crystalline solo by Annie Huckaba, and several rhythmic works, "Hehehlooyuh" and "Tshotsholoza," both of which evoked strong responses from the audience. The latter, a South African number, featured two forceful soloists, Chris Bozeka and Nicholas Klein, as well as percussive accompaniment on African drums by Emily Riggin and another chorus member (not named in the program).


The Stellenbosch choir, constituted of approximately 120 white and black college students and which earned three gold medals in the 2010 World Choir Games in China, presented a half-dozen songs plus an encore. "Kiasa-isa Niyan," described by conductor André van der Merwe as a counting song from the Philippines, used catchy choreography and motion, including chest thumping, vocal clicking, head snapping and a sharply executed bow at the end. The most moving number of the program, a traditional Zulu song, "African Prayer." It pulled six strong-voiced soloists (again, not named in the program) to the front of the stage and placed two more among the audience for an emotional call-and-response counterpoint that evoked a standing ovation.


In fact, each group was greeted with sustained applause as its singers filed on stage and cheered with a standing ovation after their performance. The audience was appreciative and wildly enthusiastic; some were parents of the Capital University performers, but many others were clearly people who simply love choral performances that are delivered with finesse, creativity and enthusiasm. Fifth Street was choked with buses bringing people from various hotels beyond downtown, here as tourists to listen to these performances.


Oh, yes: The auditorium was comfortably air-conditioned, a fact appreciated by those in attendance as well as the singers. It was a fine way to be introduced to the possibilities of the World Choir Games, here in the United States — not to mention in Cincinnati — for the first time ever. I was proud to be in attendance.

 
 
by Steven Rosen 06.03.2011
Posted In: Visual Art at 11:26 AM | Permalink | Comments (0)
 
 
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Cincy Art Museum Curator Wins AAMC Award

In the Association of Art Museum Curators' recent Annual Awards for Excellence (for the calendar year 2010), Benedict Leca — curator of European Painting and Sculpture at Cincinnati Art Museum — won first place in the Outstanding Article, Essay or Extended Catalogue Entry category for his "A Favorite Among the Demireps" article for the museum's Thomas Gainsborough and the Modern Woman exhibition. He also organized the show.

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by Rick Pender 03.04.2009
Posted In: Theater at 11:08 AM | Permalink | Comments (0)
 
 

More Than Kid Stuff

Presuming that reports about Disney's High School Musical wouldn't interest CityBeat's readers, I've not previously written about that popular phenomenon, driven by repeated airing on the Disney Channel. And I'm still not certain that it's of that much interest to anyone who regularly reads this blog.

But I went to see High School Musical 2 on Feb. 28, presented by the Children's Theatre of Cincinnati (CTC) at the Taft Theatre. I imagined a show that would appeal to kids, and my expectations were reinforced by the hordes of moms and dads escorting little ones into the Taft. But what I saw onstage surprised me.

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by Stefanie Kremer 12.03.2012
Posted In: Theater at 11:09 AM | Permalink | Comments (0)
 
 
prop8banner

Pro-Gay Marriage Play Tonight at Ensemble Theatre

CPT to perform '8' in conjunction with expected Supreme Court Decision on Prop 8

Paralleling today's likely U.S. Supreme Court decision on California's Proposition 8, Clifton Performance Theatre is hosting a one-night performance of 8 at Ensemble Theatre tonight at 8 p.m.

8 is the real-life story about two loving same-sex couples living in California who want to get married but can't because in 2008 Proposition 8 took away the right for LGBT couples to marry in California.

Written by Academy-Award winner Dustin Lance Black (Milk, J. Edgar) and directed by Kevin Crowley, this play is based on actual transcripts from the Perry v. Brown trial. 8 flashes in and out of the courtroom while also providing a glimpse into the lives of the average American same-sex couple through the struggles of real-life couples Kris and Sandy and Paul and Jeff. 

Just like these couples, gay-rights activists have been fighting for same-sex marriages across America for more than a decade. Some progress has been made as gay marriage is now legal in nine states and the District of Columbia, but many California residents feel left out and are eager to resume same-sex marriage in their state.

According to studies from the Williams Institute at UCLA law school, there are nearly 100,000 same-sex couples living in California and if given the opportunity to legally marry, 24,000 would do so.

After being engrossed with all the drama of the courtroom and seeing how the case affects the plaintiffs in 8, tune back into reality as the U.S. Supreme Court is likely to announce a decision about Proposition 8 today.

Tickets to "8" may only be purchased through the Clifton Performance Theatre by calling 513-861-SHOW or clicking here. All proceeds benefit Equality Cincinnati and the Human Rights Campaign.

 
 
by Rick Pender 10.25.2010
Posted In: Theater at 10:55 AM | Permalink | Comments (0)
 
 

You Gotta Believe It: True Theatre at Know

The best theater is honest and real, and that's what True Theatre is setting out to offer via four evenings of "true stories told by real people" beginning tonight at 7:30 p.m. at Know Theatre and continuing into next summer.

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