Brian Powers, the Cincinnati librarian who has done exhaustive work researching King Records history, thought he had found a “Holy Grail” photo — of the West End record store that Syd Nathan owned before starting King.
He knew it had been on Central Avenue, but didn’t know what it looked like.
It was in the Hebrew Union College/Skirball Museum FotoFocus-connected exhibit Documenting Cincinnati’s Neighborhoods, which features George Rosenthal’s photographs, taken in the late 1950s, of the West End before I-75 construction would dramatically alter it. Rosenthal’s photographs, owned by Cincinnati Museum Center, hadn’t been shown at least in 50 years, if ever.
Visiting on the exhibit’s opening day, Oct. 22, Powers saw one Rosenthal photo of a Central Avenue record store at 1567 Central Ave. Just a small storefront with a homey screen-door, it had what looked like neon signs that announced “Records All Speeds” and then listed the choices: Spirituals, Classics, Pops, Rhythm-Blues, Bop, Hillbilly & Western.
You can also partially see some letters and the initials “CO” at the top of the signs. Some additional written information was on a window, and another sign offered television sets for $29. Nathan wouldn’t have still owned such a store in this time period — he started King in 1943 — but might it have carried on the same location, more or less unchanged, with someone else in charge?
Powers told Henry Rosenthal, the late George’s son, about his hunch. And in his opening remarks, Henry mentioned it. Henry was particularly proud because he owns the desk that James Brown kept at King Records’ headquarters in Evanston. “It’s my prize possession,” he said.
Among the Rosenthal family members at the opening, besides Henry, were Jean Rosenthal Bloch, George’s wife; daughter Julie Baker; George S. Rosenthal and Roger Baker, George’s grandsons; great-grandson Clay Baker, and cousin Ed Rosenthal. With several hundred in attendance, it was an important moment in recognizing Rosenthal’s work.
Alas, when Powers (who didn’t attend the reception) later started researching, he saw the record store in this photo wasn’t where Nathan’s was located.
“Syd’s shop was at 1351 Central Ave.,” he said via E-mail. “The shop in the photo is at 1567 Central. It was called Mo-F-A Co. It’s listed as a TV repair shop. It was owned by a guy named Ted Savage, who seemed to have lived there with his wife.
“It looks like Syd handed over his store to Ike Klayman around 1945 to 1946. I don’t see 1351 Central listed after 1949. It may have been torn down by then. It’s where Taft football field is now.”
Powers added that he has seen a photo of a record store owned by Klayman, but believes it is at a different location
So the search for a photo of Nathan’s record store goes on, but meanwhile this very evocative one is now — finally — available to be seen.
The exhibit, which looks at what life in Cincinnati was like in the West End and Downtown before much was torn down for controversial “urban renewal” from the 1960s to 1980s, both in terms of their architecture and the conditions of the poor, also features powerful photos by Daniel Ransohoff and Ben Rosen.
It is up through Dec. 21 at the Skirball and Jacob Rader Marcus Center on the HUC campus, 3010 Clifton Ave. Go here for details.
Last night, British photographer Paul Graham presented his FotoFocus-sponsored lecture at Cincinnati Art Museum. Graham’s work is in two of FotoFocus’ featured exhibitions — the museum’s Eyes on the Street and the Stills show at Downtown’s Michael Lowe Gallery. Eyes on the Street is up until Jan. 4; Stills closes Nov. 1.
Graham’s work is related to but updates classic street photography in that, based on what he said last night, he seeks out subtle shots rather than what he calls “clichéd” or obviously dramatic images. He tries to build haiku-like, enigmatic visual sequences that in their small details cumulatively provide insight. (That said, he did show slides from a recent series that features rainbows.)
It’s a difficult task not always easily evident to the viewer, but he expressed his purpose eloquently last night and repeatedly mentioned those whose work inspired him — Robert Frank, Diane Arbus, Garry Winogrand. For those moved by his work, there’s a Where’s Waldo quality to “reading” the smallest details — the color of a tie or T-shirt, the positioning of a pedestrian on a street, the relationship of the camera angle to a storefront sign, the choices in focus.
This is particularly noticeable in his recent The Present series of New York street life, from which the Cincinnati-displayed photos come. “It’s the theater of the street, the theater of life coming at you,” he said. He also prefers that his framed prints be mounted on a gallery wall close to the floor, to approximate sidewalk level. But he acknowledged last night that the Stills show did not do that, and he enjoyed being able to see his photos at more normal eye level.
His The Present photos in Eyes on the Street capture the results of bold action or drama, a rarity for him, in that a woman has fallen on the sidewalk while others move toward her.
Meanwhile last night, the museum’s associate curator of photography, Brian Sholis, distributed announcements of two additional events connected to the current Eyes on the Street show: a Nov. 5 panel discussion at 7 p.m. about Eyes on the Street at Niehoff Urban Studio, University of Cincinnati, 2728 (Short) Vine St.; and a Nov. 19 conversation at 7 p.m. on “Art and Privacy” featuring Cincinnati Police Chief Jeffrey Blackwell and civil-rights lawyer Alphonse Gerhardstein. It’s at the museum’s Fath Auditorium.
Go here for more information.
American photographer and firebrand Tyler Shields makes his return to Cincinnati
for a Miller Gallery exhibition as part of the ongoing
This is Shields’ second appearance at the Miller Gallery in conjunction with
FotoFocus, first appearing in 2012 with Controlled Chaos. This
year's exhibit – Provocateur — opens tonight and he’s been shooting
in various locations locally throughout the week.
Of all the superlatives to describe Shields and his work, “provocateur” might
be most suitable of all. He’s gained a level of notoriety for his past exhibits
and photo shoots, including a 2011 exhibit that substituted paint for the fresh
blood of 25 rich and famous celebrities.
Shields has successfully merged the world of art with celebrity, similar to
fellow rebel-rouser Andy Warhol. He’s taken racy and playful photos of Lindsay
Lohan, Kathy Griffin, Abigail Breslin and the entire cast of Revenge.
His work can also be seen as a companion to Jay Z and Kanye Wests’s Watch the
Throne, using the medium of photography to exhibit grandeur, fame
and the excesses of materialism. His works have seen the destruction of a
$100,000 Hermès Birkin bag and the detonation of a vintage Rolls Royce — all in
the name of art, of course.
His latest Cincinnati exhibit yet again pushes his subjects and the limits of
what photography can be. His exhibit takes risks, but also presents the
germination for pensive and reflective thought.
But of all the superlatives and excessive descriptors for his work, nothing
beats seeing the real thing. Make sure Provocateur is a part of your
2014 FotoFocus experience.
The opening party takes place from 7 to 10 p.m. at Miller Gallery (2715 Erie Ave., Hyde Park) and continues through Nov. 8. Go here for more information.
Covington’s collection of high-end street art expands today with the unveiling of a vibrant mural created by Brooklyn-based artists FAILE. The mural will cover the rear walls of the adjacent Republic Bank and Donna Salyer’s Fabulous Bridal buildings on the corners of Sixth Street and Madison Avenue.
Patrick McNeil and Patrick Miller, collectively known as FAILE, create multimedia installations and collage, incorporating an experimental style and popular cultural references. Although FAILE has exhibited art in traditional gallery spaces, their work on city walls across the globe has put them on the innovative edge of the street art community. Amsterdam, New York, London, Bethlehem, Palestine and Vienna are just a few of the cities where FAILE’s work can be found.
The Covington collage-style mural was inspired by the artists’ “rip style painting.” It features classic FAILE motifs along with suggestions of Kentucky culture. The placement of the mural on two adjacent buildings allows the split images to visually converse with each other through space. The mural’s high contrast and dramatic aesthetic references FAILE’s inspiration from screen printing along with urban contemporary art. The humorous overtone of the mural’s imagery makes a strong visual connection to pop art and comic book illustrations.
Covington’s BLDG, a cooperative arts organization working to “foster inspiration, the visionary and the uncommon” will host the unveiling of the mural. BLDG nurtures creativity by providing branding, gallery space, publicity and refuge for artists and innovative thinkers. Their unique team brings internationally celebrated artists to the Covington area, placing the city on the list of artistically progressive areas. BLDG’s projects have included collaborations with the London Police and Prefab77.
will take place from 5-7 p.m. tonight at the mural site. Drinks and food will
be provided by Rhinegeist, Arnolds, Tito’s Vodka and The Gruff (a pizza
shop/deli coming soon to Covington). Go here for more info.
Before Anne Rice and Stephen King, Edgar Allen Poe set the standard for gothic creepiness. He's the inspiration for Gothic Halloween, a terrific program of music and Poe's classic stories guaranteed to chill the blood temperatures to appropriate Halloween levels, performed with wicked glee by the adventurous ensemble concert:nova. It's an evening of music from the dark side seamlessly interwoven with equally scary stories and songs.
Performed on the stage of Cincinnati Shakespeare Company's production of The Birds, it's the perfect setting for an evening of macabre and mayhem. Many of the musicians sported black capes but harpist Gillian Sella takes the prize —more on her later.
Bach's "Toccata" from the "Toccata and Fugue in D minor" is a horror standard and that's what starts the evening, performed with gusto by local treasure, keyboardist Julie Spangler. It's so familiar that the opening three-note sequence evoked laughter, which was quickly silenced by Spangler's artistry. She makes the small electric keyboard resonate with the power of a cathedral instrument.
The "Psycho Suite" features three pieces from the classic film score by Bernard Herrmann, performed by a string sextet — Eric Bates (no relation to Norman), Gerald Itzkoff, Mari Thomas, Rebe Barnes, Margaret Dyer and Theodore Nelson. There were also a few chuckles which quickly subsided. Those screeching string swipes don't need film to convey the murder in the shower scene or the ominous mood at the Bates Motel.
Baritone Edward Nelson gave a powerful performance of Schubert's setting of German poet Heinrich Heine's "Die Doppelganger," a song about a frightening encounter with one's alter-ego. Spangler accompanied and segued into Part II of Gyorgy Ligeti's "Musica ricercata," ("Researched music"). Entitled "Mesto, rigido e cerimoniale," (Sad, rigid and ceremonial), the music is a series of repeated notes, restless and menacing.
Sections of Ligeti's String Quartet No. 1 accompany a reading of Poe's "The Cask of the Amontillado," performed by Jason Podplesky and Edward Nelson. Podplesky seemed uneasy at first, stumbling over mispronunciations, but he recovered to bring the story to its macabre finale. Nelson did a fine job as the hapless victim. He remained onstage, joined by a string quartet for a performance of Samuel Barber's setting of Matthew Arnold's poem "Dover Beach." Nelson conveyed the longing, passion and terror with elegant tone and flawless diction. The string quartet delivered an appropriately moody reading.
The second half opened with violists Barnes and Dyer slinking out on stage to perform "Viola Zombie," Michael Daugherty's duet that's a mashup of horror themes and plucked strings. You gotta love a piece with movements entitled "Jerks of Rigor Mortis" and "Zombie revivus." Barnes and Dyer clearly do.
The evening closed with Poe's ultimate horror classic, "The Masque of the Red Death," read by Podplesky, accompanied by French composer Andre Caplet's "Conte Fantastique: Masque of the Red Death" for string quartet and harp. In spite of a few mispronunciations here and there, Podplesky rendered the story with ghoulish delight. Caplet's score meshes fantasy and foreboding, and the harp glissandos add to the eerie atmosphere. Willowy harpist Gillian Sella nearly stole the show when she entered, garbed in a white satin cape and pointed hat.
c:n Artistic Director and clarinetist Ixi Chen doesn't perform in this concert but her creative mark is all over this terrific program.
You have one more opportunity to up your scare quotient on Monday evening, Oct. 27, at 7:30 p.m. A party follows the performance. You go, ghouls. Tickets and more info here.
If the assault of Mitch McConnell ads has you thinking Kentucky must be the most hopelessly unprogressive state ever, a FotoFocus Biennial-related lecture last Sunday provided another take on the Bluegrass State.
The speaker, who also presented slides, was the veteran Lexington photographer Guy Mendes, who with Carey Gough has the exhibition Blue Roots and Uncommon Wealth: The Kentucky Photographs at Over-the-Rhine’s Iris BookCafe, 1331 Main St., through Jan. 25. His presentation, organized by Iris’ photography curator William Messer, was at Mr. Pitiful’s bar, close to Iris.
Mendes, active in Kentucky arts, public television production and higher education since the late 1960s, has been collected by Ashley Judd, Willie Nelson, Maker’s Mark (he’s very proud of that) and the New Orleans and Cincinnati art museums, among others. At Mr. Pitiful’s, he made a compelling case for Lexington as a center for progressive creative thought — in photography, especially — that has had a broad influence on our times.
As a college town (University of Kentucky), Lexington maybe has been better known for its basketball than its radicalism, but Mendes made it seem like it could hold its own with Berkeley, Calif., Ann Arbor, Mich., or Madison, Wis., in any history of counter-cultural hotspots.
His presentation focused on a group he became part of in the late 1960s, the Lexington Camera Club, active from the 1950s to the early 1970s (and recently revived). While, like other camera clubs it attracted its share of hobbyists, it also had stalwart support from open-minded professionals with an experimentalist bent.
Mendes mentioned and showed slides of work from the Camera Club’s first golden era. The accomplishments of these now-deceased members was impressive — Van Deren Coke (who went on to become director of the George Eastman House); Robert May, who specialized in multiple exposures; James Baker Hall, a poet (and former state Poet Laureate) and photographer whose haunting series of images featuring collaged family photos may have been a way to deal with his mother’s suicide when he was a child.
One Camera Club photographer, Ralph Eugene Meatyard, has become recognized since his 1972 death as one of America’s most memorable — and spookiest. His black-and-white shots of children and adults wearing masks in strange settings are still unsettling.
Lexington was restive in the anti-Vietnam War days, and Mendes published an underground newspaper called Blue-Tail Fly and was involved in protests. And as he became friends with local writers Wendell Berry and Ed McClanahan, his literary and photographic worlds began to merge. (Both still are active today.)
In Mendes’ show at Iris, those two figures are in probably the two most striking photographs. One is a 2012 portrait of Berry, on a farm in Henry County, with his horses Nip and Jed grazing behind him. It’s sheer happenstance, but the horses’ placement is such as to create the illusion is that their heads extend from his shoulders. Messer refers to them as “horse angel wings,” and it’s a great tribute to Berry, an environmentalist as well as a writer. The photo gives the elderly man a heavenly glow.
McClanahan is involved in the weirdest photograph in the show — 1972’s “The Fabulous Little Enis & Go Go Girls of Boots Bar.” This photo (in a tarted-up version) accompanied McClanahan’s article about this colorful musician in Playboy. It depicts the left-handed, backwards-holding guitarist Little Enis and a chorus line of scantily clad women outside the bar.
The late Carlos Toadvine’s stage name “Enis,” Mendes told his audience, was a play on the nickname given to Elvis Presley as “Elvis the Pelvis” — you get the point. Mendes said Enis was a fabulous guitarist but the working-class Boots Bar was a tough place for scruffy, hippy-looking artists like McClanahan and himself in 1972. On their first visit there, McClanahan and Mendes, were greeted by a flying beer bottle. (On the Internet, there is a photo of long-haired college-age young men admiring Little Enis’ act, so maybe the bar got a little safer with time.)
The Iris show also features color photographs of Kentucky music-related sites by Gough, who considers Mendes a mentor.
Lexington’s impact on the arts is fascinating in other ways, too. The writer Bobbie Ann Mason attended UK, as did the great character actor Harry Dean Stanton. (There is now a film festival there in his honor.) Walter Tevis based his novel The Hustler on a pool hall there. Punk icon Richard Hell was born and raised there, as was Cincinnati artist/composer Jay Bolotin.
There must be something in the bluegrass. It’s captured in Mendes’ photographs.
Two that I highly recommend, and that I’m afraid might be overlooked because of bigger museum shows, are Emily Hanako Momohara’s Heirloom — at Downtown’s Weston Art Gallery — and David Benjamin Sherry’s Western Romance at a temporary space at 1500 Elm St. in Over-the-Rhine. Momohara’s show is up through Nov. 30 but Sherry’s ends Nov. 1.
Both use color wonderfully to make you focus on objects and/or landscapes close-up — so close-up they have a transporting, transcendent effect if you can spend enough time with them.
Sherry, an L.A. artist recently featured on The New York Times Magazine’s cover, uses color in a psychedelic way, achieving the effect he wants during processing. It gives his Western mountain and desert landscapes a glaze — a “purple haze,” in the case of “Putting Grapes Back on the Vine” — that turns physical geography into a state of mind. There are also in the show black-and-white prints by masters of Western photography — Ansel Adams, Carleton Watkins — to acknowledge Sherry’s debt and also proclaim a change.
Momohara, who taught photography at the Art Academy of Cincinnati but now is relocating to China, is using Heirloom to explore ideas about her Okinawan and Japanese ancestry. These distinctive still photographs and photograph-like videos isolate and deeply contemplate objects related to or inspired by that.
The vertically formatted pieces — like the fantastic “Gathering” video, which looks at luminescent, open-mouthed koi as they crowd around the water’s surface — seem to be moving forward a grand narrative, like scrollwork. And the more horizontal pieces, like “Mask #1,” revel in mystery through the way illuminated objects occupy space in an otherwise dark ground.
To me, these two shows are among FotoFocus’ very best — and I especially hope Momohara returns at some point with something much more extensive.