All rooms were jam-packed with people in imaginative costumes, and in the ballroom the DAAP Girls (outfitted for the night as the DAAP Witches) belted out a funky, soulful, garage-rock version of “Ghostbusters” far better than the cutesy original.
Best of all, for those who remember coughing and hacking their way through the old Southgate House, the place was non-smoking for this event and had signs up everywhere to enforce that. If it can keep up the pleasant smoke-free environment, Thompson House might just become the nightclub that counts in Greater Cincinnati. Still not sure if that will make me turn out for the upcoming Dying Fetus/Malignancy concert, but the place is definitely back on my radar.
Carnevil’s turnout also proved that FotoFocus, as an event, was on people’s radar. There had been some questioning of that earlier in the week, after moderate turnouts for two appearances by nationally significant photographers at Cincinnati Art Museum’s Fath Auditorium.
Laurel Nakadate gave the prestigious FotoFocus Lecture there on Oct. 24, presenting a slide show of the past 12 years of her sometimes-eyebrow-raising performative-video and still-photography work.
For one project, she wandered around truck stops and invited truckers to dance with her in their cabs. In another, she traveled across Canada by train and threw her underwear out the window each day, photographing the colorful results. (As far as I know, she did not get arrested for littering.) Someone asked about the inherent danger in some of her early work, which involved putting herself in erotic situations with strange men. “I look back at my early work and fear for my life,” she said. “But I’m really glad I made that work.”
Incidentally, one of her more recent projects — for which
she showed slides — was to photograph herself crying everyday for one year. The
“one year” motif seems to be such a strong one that some curator somewhere
should devote a show to its variations. There’s plenty of material right here.
At Michael Lowe’s Downtown gallery, site of the “Using Photography” FotoFocus
exhibit featuring work by 1970s-era (and beyond) Conceptual Artists, there is
an example of On Kawara’s “I Got Up” series. For 11 years (1968-1979), he sent
friend picture postcards stamped with the time that he arose each day.
And when Todd Pavlisko was in town last week to plan for his “Docent” rifle-firing project that occurred Monday at Cincinnati Art Museum, he said that one piece in his resultant museum show next year will be displaying all the loose change he’s collected in a year. (He will gold-plate the coinage.)
At the other appearance of a photographer at CAM last week, Chief Curator James Crump discussed the future of photography books with Minnesota photographer/publisher Alec Soth and Darius Himes, a gallerist whose Radius Books publishes unusual photography creations.
Some in the audience wished the event would have featured much more of Soth and his fascinating photojournalistic work. He did discuss a current project, in which he and Brad Zellar are photographing election-eve everyday life in Michigan for his LBM Dispatch, which tries to quickly publish and distribute photo essays. (The work will then be displayed at Detroit’s Cranbrook Institute.)
But Himes did express admiration for the strangest Conceptualist book project I’ve heard of in a long time. That would be photographer Mishka Henner’s printed-on-demand Astronomical, twelve 506-page volumes representing, in total, a scale model of the solar system from the sun to Pluto. Many of the pages are blank, representing the great distances between planets in space. Himes did not say if you must order the whole set or just your favorite volume, but you can find out more at here.
I was able to spend some time last week with Barry Andersen, photography professor emeritus at Northern Kentucky University who has been a strong, forceful advocate for the importance of this form as both an artistic medium and a critical societal observer. His own show, the now-concluded Sky, Earth and Sea at Notre Dame Academy in Park Hills, served as a satisfying retrospective of thirty years of his work. Especially lovely were his gorgeous aerial-shot” Cloudscapes,” vivid inkjet prints from negative scans.
And as a curator, he put together a superb, sadly also now-concluded, show at NKU called Reporting Back, which surveyed the work of 14 documentary photographers whose thematic interests covered the globe. Each one’s work was presented as a series of photographs, a thematically related suite, to remind us of the journalistic impact of the photo essay. Ashley Gilbertson’s quietly moving “Bedrooms of the Fallen” visited the bedrooms of soldiers slain in Iraq and Afghanistan. Their solemnity was balanced by Jim Dow’s colorful portraits of idiosyncratically appealing, retro-Americana buildings. You can learn more about the show — and be introduced to some fine photographers — here.
FotoFocus has the potential to shine a lens on fine Cincinnati photographers of the past whose reputations could use a revival. One of the best shows to achieve that goal this year was Cincinnati Museum Center’s Photographic Legacy of Paul Briol: 1909-1955, which closes Thursday. Briol’s black-and-white images of the rhythms and architecture of Cincinnati life have a dreamy beauty, partly because he was not adverse to stripping in more dramatic skies and otherwise heightening an image’s dramatic effect.
The populism and humanism in his work are evident — Lewis Hine perhaps was an inspiration. An elderly African-American couple sits while the woman peels a potato; children in what seems to be an aged urban schoolroom pose with their stuffed animals. Those, along with images of the skyline, a roller coaster, Fountain Square, the riverfront, Rabbit Hash, Ky.’s general store, give life to that era’s Cincinnati.
Actually, the photo of his that moved me the most was in a different show, the concluded Images of the Great Depression: A Documentary Portrait of Ohio. It was by far the best thing in that exhibit. His contribution, an extraordinarily composed photo from 1935 called “Waiting for Work,” shows the looming shadows of men against a room’s wall. A sign reads, “Dirty Men Will Not Be Sent Out.” Briol may have arranged this image rather than just observed and captured it, but no matter. It magnificently speaks to the despair and denigration that the Depression brought.
One hopes 2014’s FotoFocus will find room to spotlight a few other Cincinnati photographers of the past who could use rediscovery — perhaps Nelson Ronsheim or George Rosenthal. Or, if you have ideas, send them along to me at email@example.com. In the Nov. 14 Big Picture column in CityBeat, I’ll address some suggestions for how we can keep the momentum going now that the interest level for photography has been raised.
The Cincinnati Symphony Orchestra (CSO) launched its new seven-week initiative, “One City, One Symphony” earlier this month. The goal of the program is to get the CSO engaged with people of all walks of life through nine listening parties across the region. “One City, One Symphony” concludes with three concerts Nov. 15, 17 and 18 at Music Hall featuring A Survivor From Warsaw by Arnold Shoenburg and Beethoven’s Ninth Symphony.
The Jewish Foundation of Cincinnati and The Carol Ann and Ralph V. Haile, Jr./U.S. Bank Foundation host the free listening parties across Greater Cincinnati and Northern Kentucky. These parties are a chance for the public to interact with CSO musicians and conductors while listening and discussing the music from Schoenburg and Beethoven.
“I already feel a strong connection with our audiences, the supportive community and of course the incredible musicians of the CSO, and I am looking forward to deepening this relationship in the coming months and years," Music Director Louis Langrée said in a press release.
If you haven’t attended a listening party yet, there are still several more chances to meet the players and discuss the music around town.
Tonight, Anderson High School welcomes CSO timpanist Patrick Schleker to host a listening party from 7-8:30 p.m.
To attend one of these performances or learn more about the CSO and One City, One Symphony, click here.
The rest of the listening parties are as scheduled:
Thursday, Nov. 1, 7-8:30 p.m. at the Xavier University’s Bellarmine Chapel. This performance is hosted by CSO violinist Sylvia Samis and XU Director of Interfaith Community Engagement Abie Ingber.
Thursday, Nov. 8, 6-7:30 p.m. at Coffee Emporium. Associate Conductor Robert Treviño hosts.
Tuesday, Nov. 13, 2-3:30 p.m. at Mayerson Jewish Community Center. Again hosted by Sylvia Samis and Abie Ingber.
You'll have to pick and choose this weekend because
there's so much theater onstage. In addition to our professional
theaters, it's worth checking out production at universities: Tonight
through Sunday, CCM's esteemed musical theater program is offering the
cult favorite Chess, with music by ABBA's Björn Ulvaeus
and Benny Andersson. The story is set in Bangkok and Budapest during a
mid-1970s world chess championship — and it's driven by gamesmanship
between nations, between lovers and, of course, between chess players. I
saw the opening on Thursday, and it's a BIG show with a gigantic cast.
Several leading roles are double cast (with more juniors than seniors,
in fact, which bodes well for CCM productions for this season and next).
In particular, Matthew Paul Hill, playing the Russian grand master
Anatoly, lifted the roof of Corbett Auditorium with his powerful
baritone voice singing the stirring "Anthem," the Act 1 finale. Tickets
($30) Box office: 513-556-4183. At Northern Kentucky University you'll a production of Royal Gambit
by German playwright Hermann Gressieker (translated into English in the
late 1950s). The subject is King Henry VIII and his six wives, and this
looks to be a beautifully costumed show, featuring senior Seth Wallen
in the leading role. Tickets ($14). Box office: 859-572-5464.
Neil Simon's funny and endearing Brighton Beach Memoirs is onstage at the Cincinnati Playhouse. I gave it a Critic's Pick (review here), and I'm sure audiences will love this sweet portrait of growing up in Brooklyn in the 1930s, where a loving but fractious family copes with hard times. It's told from the perspective of Eugene, a precocious adolescent (he's really Simon as a 15-year-old), who takes notes on his family's behavior. Well acted and beautifully staged. Box office: 513-421-3888l.
My schedule hasn't permitted me to see several shows that are getting good notices, including recognition from the folks evaluating productions for the League of Cincinnati Theatres. I'm catching up this evening with Cincinnati Shakespeare Company, which is offering two shows this month. Romeo & Juliet is its mainstage show, and Sara Clark is getting high marks for her portrait of romantic but tragic young love. Brian Phillips' staging picked up an LCT nod, and the show received an overall recommendation from LCT. On the evenings when R&J is not onstage, there's another Shakespeare work for thrill seekers, specially selected and staged for the Halloween season: the bloody, gory tale of revenge, Titus Andronicus. Veteran actor Nick Rose plays a crazed Roman general, and just about everyone I've heard from says his performance is memorable. (It earned him an LCT nomination, too.) Box office: 513-381-2273.
This weekend is the final one for Mrs. Mannerly at Ensemble Theatre. When Harper Lee reviewed this one for CityBeat (review here), she gave it a Critic's Pick, and I agree wholeheartedly. (LCT named it a recommended production, too.) CEA Hall of Fame actress Dale Hodges is great fun to watch as a strict etiquette teacher in 1967, and Raymond McAnally plays all the other characters — a bunch of kids who are learning how to behave in a "mannerly" way. It's funny from start to finish, but there's a heart-warming message within the story. Definitely worth seeing. Box office: 513-421-3555.
At Clifton Performance Theatre, Clifton Players are staging A Bright New Boise, which also picked up an LCT recommendation. I haven't seen it, but the show won an Obie Award (that's for outstanding off-Broadway plays) in 2011, and it has a strong cast. This is a newish venue that's specializing in "storefront theater." Should be worth supporting. Tickets ($20): 513-861-7469.
The firing of a high-powered rifle inside the Cincinnati Art Museum, sending a bullet past masterpieces through the first-floor Schmidlapp Gallery and into a block of bronze in the middle of the Great Hall, will occur on Monday, museum officials said.
Todd Pavlisko, the New York-based, locally born artist who proposed the project, will be at the museum Friday for final planning and discussions. (CityBeat will interview him for a story in next week’s Big Picture column.)
The museum has refused to allow press — or the public — to witness the actual event, for security concerns, according to Director Aaron Betsky. It also won’t say what time it will occur. The male sharpshooter who will fire the high-powered rifle from a mounted stand also doesn’t want to be identified. The museum normally is closed to the public on Monday.
A spokeswoman said the museum will be on “lockdown” for the event. Those who will attend the actual shooting include the artist and the sharpshooter, Betsky and Chief Curator James Crump and several others. A Cincinnati police officer also will be present, a requirement of the City Council ordinance permitting the event.
According to an earlier press release, which did not set a specific date for the actual rifle shot, Pavlisko’s project is an outgrowth of his work with photography and video. This will reference the work of Harold Edgerton, whose photographs capturing bullets passing through fruit and droplets of milk have become masterpieces for making visible that which the naked eye could not see. Pavlisko’s idea is to contrast the flight of the bullet with the timeless nature of the masterpieces on display in the Schmidlapp Gallery. (The bullet will be 12 feet from any actual artwork.)
High-speed cameras and video equipment will document the shot, and the resultant work will be on display May 25-Sept. 22 in a show called Crown. So, too, will the 36-inch cast brass cube, or what remains of it, as the bullet strikes it.
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 firstname.lastname@example.org. 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
My first and foremost recommendation for the weekend is Blue Man Group.
(Review here.) It's a performance experience unlike much of anything else you've
probably ever experienced in a theater — raucous music, zany humor,
eye-popping technology and infectiously fun engagement with the
audience. Amazingly, it's done without spoken words — the guys mime
(well, kind of, it's actually more like they're mute in the style of
Harpo Marx, with a lot of staring and double-takes), although they're
backed up by awesome video that does offer some instruction (and laughs)
for the literate. As I've said before, it's hard to describe but easy
to enjoy. This is Blue Man Group's first time in Cincinnati, presented
by Broadway Across America; the Aronoff Center might never be the same.
(Through Oct. 28) Box office: 800-982-2787.
Last night I enjoyed opening night for the thoroughly authentic and charming production of Neil Simon's Brighton Beach Memoirs at the Cincinnati Playhouse in the Park. It's the story of a Jewish family in Brooklyn in the 1930s, but thanks to Simon's witty, heartfelt recollections of his own youth, it has a feeling of universality. The narrator is Eugene Morris Jerome (who's a stand-in for Simon himself), and actor Ryan DeLuca conveys the joys and pangs of adolescence and puberty with feeling and hilarity. He frequently addresses the audience about his interactions with his grouchy parents and his woebegon aunt, his worldly brother, his pampered cousins — he's documenting them for something he'll write when he's older, a novel or perhaps a play! And that play is the one onstage at the Playhouse, the first Neil Simon script ever presented there in more than 50 seasons. (Through Nov. 10.) Box office: 513-421-3888.
Continuing productions of the comedy Mrs. Mannerly at Ensemble Theatre Cincinnati (513-421-3555) and Shakespeare's romantic tragedy Romeo & Juliet at Cincinnati Shakespeare Company (513-381-2273, x1) have been positively reviewed and appreciated by audiences. This weekend also marks the opening of Cincy Shakes' staging of Shakespeare's bloody history of the Roman emperor Titus Andronicus, staged with tongue in cheek (and in a pie) for the Halloween season. It happens on the nights when the R&J cast takes a breather.
You might also consider two special events: New Edgecliff Theatre's annual one-night fundraiser, Sweet Suspense Theatre, a presentation in the style of a radio play, happens on Saturday evening. This year the production, a new adaptation of Oscar Wilde's story of The Canterville Ghost, is being presented at the Cincinnati Art Museum — and includes an extended intermission with lots of goodies from local bakeries and restaurants. (Tickets: 888-588-0177). You might also want to check in with the Playhouse about ticket availability for Post Secret on Monday evening; the one-night presentation of a piece based on an anonymous "true confessions" website is rumored to be sold out, but there might be a waiting list if you call the box office. (513-421-3888)
And then there are those that touch numerous bases — either because that’s what the artists intended or because time has changed the meaning or our appreciation of the work. In the former category, and so far the work that towers over everything else I’ve seen, is Doug and Mike Starn’s Gravity of Light in the decommissioned Holy Cross Church at Mount Adams Monastery. This installation prominently uses photographs without letting them define what its purpose or meaning is about. I’ve written about it previously and may do so again, so powerful is it. It’s up through year’s end, and I hope everyone realizes how important an artwork it is and goes to see it. Go here for details.
It can be discussed and debated whether Disfarmer, who died in 1959) was engaged in what he thought was a commercial venture or whether he was after something else… his own quest for an artful statement. But the work today is important as something other than straight photo-documentation, though it is that. The photographs are haunting missives from the place Greil Marcus called “the old, weird America” — a spiritual zone, a cosmic baptismal font, from where much of our contemporary culture can trace its origins.
But they came, sometimes dressed in their best and sometimes dressed in the best they had. What resulted — and we are fortunate his work has been preserved, which itself was a struggle — is a different take on Depression Era poverty than the federal Farm Security Administration photos. Taken by outsiders, those placed — with warmth and humanity — their subjects in their surrounding hardscrabble environment. They have a sociological dimension.
By the way, I’m not sure how many people know this exhibit is here. FotoFocus literature didn’t list it as an ongoing show, but rather a part of a one-day event – last week’s Emery concert by guitarist Bill Frisell/858 Quartet of his composition Musical Portraits from Heber Springs. But the Emery is keeping it up through the month. To see it, e-mail email@example.com with your phone number and times you’re available, or call 513-262-8242.
The artist spent five years observing — in film and still photographs — the effect of light, seasonal change and weather on a remote, pristine, Finnish island. In “Forest (Tree and Pond),” his work is condensed via editing into a relatively tight time span and projected onto a gray-painted section of a gallery wall. While it looks like we are a watching a specific spot on the island change over the seasons, I’m told it’s a composite. (I find that remarkable.) Tuori has created this slightly wavering mirage of an image to show how art can turn what we think of as mundane into something momentous. He has photographed elusive “change.”
Photography, like all art, isn’t meant to stand still. Tuori is at the forefront of finding new ways to show that.
You have no excuse for complaining that there's not enough
theater in the days ahead. In fact, you'll have a hard time fitting it
Ensemble Theatre Cincinnati's regional premiere of Mrs. Mannerly opened a few days ago: It's a comedy about growing up in small-town Ohio under the watchful (perhaps oppressive) eye of a strict etiquette teacher. Jeffrey Hatcher's play (largely based on his own experience in 1967) features one of Cincinnati's best actresses, Dale Hodges, in the title role. And the production has been staged by Ed Stern, recently retired after 20 years as producing artistic director at the Cincinnati Playhouse. Box Office: 513-421-3555.
Cincinnati Shakespeare is producing Shakespeare's romantic tragedy Romeo & Juliet, featuring a pair of actors — Sara Clark and Ian Bond — who had great chemistry in recent productions of Pride & Prejudice and Sense & Sensibility. They will bring new life a familiar work, I'm sure. The production opens Friday; bear in mind that Cincy Shakes has been selling out its productions this season, so catching this one before it catches on with the larger audience might be a good idea. Box Office: 513-381-2273 x1.
For entertainment of an entirely different stripe, I suggest you check out The Beggar's Carnivale on Friday and Saturday evenings (9 p.m.) at Know Theatre. This variety show has been described as "Cirque du Soleil on a whiskey bender." It includes elements of traiditonal circus arts, gypsy folk and Rock & Roll. You'll witness a fast-paced spectacle with several acts linked by interludes in the style of silent film. There's live music, too, by their house band The Royal We and the Carnivale's personal DJ. Sounds like an evening of unusual entertainment. Box Office: 513-300-5669.
For the stay-at-homes, you might sample Lost in Yonkers on WVXU's broadcast of L.A. Theatre Works, Saturday evening at 8 p.m. on FM 91.7. This great nostalgic play by Neil Simon is part of an autobiographical trilogy; the Cincinnati Playhouse is producing Brighton Beach Memoirs, another from this set, a few weeks from now. On Sunday evening at 8 p.m. WVXU will air The Moth, a collection of monologues by everyday people, sharing anecdotes of things that actually happened to them. It's the inspiration for our local company True Theatre, which opens its third season on Monday evening (7:30 p.m.) with trueLearning at Know Theatre.
Finally, to keep you occupied next week, CCM Drama is offering a week of free, unticketed readings of gay-themed plays. On Monday it's Larry Kramer's The Normal Heart (1985); Tuesday and Wednesday offer Tony Kushner's 1993 award-winning Angels in America, Part 1: Millennium Approaches and Part 2: Perestroika. Thursday evening it's Stephen Karam's Sons of the Prophet (2011). All readings are at 7 p.m. in the Corbett Center's Room 4755 at the University of Cincinnati. On Friday evening, Dr. Richard Coons will moderate a conversation about "Storytellers, History Makers and Revolutionaries: The LGBT Story." A clinical psychologist, Coons is a CCM Drama grad; in 1998 and 1999 he played the central role of Prior Walter in CCM's local premiere of Kushner's Angels in America. (Also free, this event will be in Patricia Corbett Theatre on the UC campus.)
Having wrapped up a very busy first (extended) weekend of FotoFocus activities, I’m humbled by the fact that I only got to a portion of the exhibits and events occurring under the month-long, regional photography festival’s umbrella.
Before it’s over, more than 70 shows and related special events — like this Wednesday’s concert at the Emery Theatre by Bill Frisell/858 Quarter, featuring musical portraits inspired by photographer Mike Disfarmer’s work — will have taken place. I’m wondering if FotoFocus, like the National Park Service, should have a passport that can be stamped at each site of a sponsored activity. (Quite a few exhibits will continue past October – check here for schedules.)
“Umbrella,” by the way, is an apt word to use in one respect. Sideshow, the thoroughly charming outdoor kick-off party that took place Friday night, was bedeviled by rain and cold temperatures. As a result, attendance was small. That was disappointing because the alleys of downtown’s Backstage Theatre District had been turned into a colorful, imaginative, Fellini-esque carnival for the evening, with handmade booths, games of chance and photography opportunities.
A stage with a theatrical backdrop served to host A Hawk and a Hacksaw, a New Mexico duo — Jeremy Barnes on accordion and Heather Trost on violin — whose music had an East European/Middle Eastern flavor and whose musicianship was impeccable. They would have fit well at MidPoint. In fact, the Backstage Theatre District would make a great outdoor venue next year for MidPoint, which, as Mike Breen pointed out, needs a stronger downtown presence.
On Wednesday, I attended the preview opening of Doug and Mike Starn’s Gravity of Light in Holy Cross Church at the Mount Adams Monastery. I had gone a couple weeks earlier for a test, which I described in last week’s Big Picture column, where the noise and flying sparks from the giant carbon arc lamp’s scared me even as the magnitude and, well, gravity of the monumental photographs that its light illuminated astonished me.
On my second visit, with maybe two dozen other guests present, Gravity of Light wasn’t quite as scary — not when you see people using the carbon arc lamp’s brilliant white light to read their smart phone email. Ah, technology! But it’s still a profound exhibit — a major installation that uses photography as an intrinsic part of a created environment – and I can’t imagine that anyone interested in contemporary art or FotoFocus would want to miss it. And afterward, you’ll want to discuss what it means.
Two other exhibits I attended over the weekend were Anthony Luensman’s TAINT at the Weston Art Gallery and Let's Face It: Photographic Portraits by Melvin Grier, Michael Kearns and Michael Wilson at Kennedy Heights Art Center. Luensman is one of our most talented local artists, especially ingenious with installations involving sound and light, but I didn’t get a clear indication of how or why the presence of photography (and video) is supposed to crucially matter in this mixed-media show.
The Kennedy Heights exhibit had some remarkable large-scale black-and-white portraits by all three accomplished local photographers. Grier and Wilson, in their Giclee prints made from film negatives, got remarkable expressiveness their subjects like “Robert” and “Tony” (Grier) and “Thomas” and “Lamayah” (Wilson). Those Wilson photos, and some others, frame the pupils of their subjects’ eyes with a tiny white square, a stunning effect. In several of his large Giclee prints from digital photographs, Kearns achieves clarity of detail so rich (on “Chuck,” which is Wussy’s Chuck Cleaver, and “Andre”) that you could stand there and count every strand of the subjects’ hair. I don’t know who Andre is, but the way he is posed with head slightly upward and a triumphant smile emerging from a mouth that appears to be missing some teeth makes him heroically human. It’s a meaningful show.
On Thursday, I attended the Cincinnati Art Museum’s reception for Herb Ritts: L.A. Style, the Getty Center-organized show of the late photographer’s black-and-white prints. Beautifully installed, this exhibit features Ritts’ fashion and celebrity work, as well as his stylized, erotically charged studies of the nude male and female torso. The show doesn’t so much chart his “progression” from high fashion to high art as it spotlights the connection between fashion and art. It also underscores that the eternal human quest for perfection is about the body as much as the mind. (Kathy Schwartz will have more on this show soon.)
For opening weekend, the art museum’s Chief Curator James Crump — also FotoFocus’ co-chair — brought to town Paul Martineau, the Getty’s curator for the Ritts exhibit, and Charles Churchward, a magazine design and art director who knew Ritts and has written Herb Ritts: The Golden Hour.
Martineau, it turns out, is at work on a major Robert Mapplethorpe exhibit to be presented by the Getty and Los Angeles County Museum of Art in 2016. (Getty Research Institute and LACMA recently acquired some 2,000 of his photographs, and the Getty already had acquired the archives of Sam Wagstaff, Mapplethorpe’s collector/lover.)
Martineau told me it might travel. Cincinnati would be a perfect venue for it — Crump has made a documentary about Mapplethorpe and Wagstaff, the authoritative Black White + Gray. Is it too early to start a Facebook campaign to bring that Mapplethorpe exhibit to Cincinnati? Any volunteers?