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.
“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.
“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.”
“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 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.
In this week's Big Picture column, there is an item that Matt Distel — long active on the local contemporary art scene and current executive director of Northside's Visionaries + Voices center for artists with disabilities — had been named adjunct curator of contemporary art at Cincinnati Art Museum. Today comes the announcement he will leave V+V to be exhibitions director at The Carnegie in Covington, effective in June. He replaces Bill Seitz, who announced his retirement last month. His adjunct position at the art museum will continue.
“Matt is the perfect person to build upon the successes we’ve had in the galleries and we are honored to have him join our team,” said Katie Brass, Carnegie executive director, in a press release. “His personality, his connection to local artists, and background all make him the ideal candidate to run the Carnegie Galleries and to grow programming.”
In that same release, Distel said, “To be part of the legacy the Carnegie has for supporting local and regional artists, it’s very exciting. The Carnegie is one of the premier arts organizations in the region and Bill [Seitz] has established a great framework for me to continue to build an exhibition program that plays a compelling role in the arts community.”
The Playhouse will open the season in September with Trey Ellis and Ricardo Khan's Fly, the powerful story of World War II's famed Tuskegee Airmen. The production, staged by Khan, combines live action and video projections with a tap dancer who offers insights into the hopes, fears, angers and triumphs faced by the airmen as they fight two wars — one in Europe and another back home against a rising tide of racism. Following Fly (which will run Sept. 12-Oct. 5), the Playhouse will present Kander & Ebb's classic musical Cabaret (Oct. 24-Nov. 16), a show with iconic choreography and unforgettable songs. It's set in pre-World War II Berlin, where a rising storm of Nazism swirls outside the decadent Kit Kat Club. This one will be staged by Broadway director and choreographer Marcia Milgrom Dodge, nominated for a Tony and Drama Desk awards in 2010 for her much-praised revival of Ragtime.
Robison says, "Fly is a truly unique play that brings the important and inspirational story of the Tuskegee Airmen alive for adults and young people alike. Cabaret marks the return of the big Broadway musical to the Marx stage. I've always loved Kander and Ebb for their ability to explore characters and stories in depth while entertaining the heck out of you."
On Monday, Cincinnati Art Museum announced the resignation of James Crump, its chief curator and photography curator. He arrived at the museum in 2008. A press release said he would "pursue independent projects." The press release also included high praise for Crump from Aaron Betsky, museum director:
"We are so grateful for the great work James has done here in Cincinnati. His exhibitions and acquisitions have made us a center for photography, and we look forward to building on his extraordinary achievements."
One of those achievements, the exhibition James Welling: Monograph, just opened Feb. 2. Crump was also a leader in the organization of last year's multi-venue FotoFocus photography festival, and Cincinnati Art Museum sponsored two of its biggest shows — Herb Ritts: L.A. Style and Doug and Mike Starn's Gravity of Light.
The museum said an interim chief curator will be named soon.
Recently, the Italian art-book publisher Damiani launched a new line of Damiani / Crump books. It begins in March with Empire Falling, photographer Elena Dorfman's study of Midwest rock quarries.
Know Theatre is finally getting around to its first full-fledged production of the season, Andrew Bovell's award-winning drama, When the Rain Stops Falling. (The playwright's Speaking in Tongues was a much admired production at the Cincinnati Playhouse a year ago.) An intricate fabric of overlapping connections, Bovell's 2010 script moves seamlessly through time and across continents between the years of 1959 and 2039. In a world where the rain rarely stops falling, four generations of a family search for truth and hope to mend broken connections. What they discover is the impossibility of escaping the past. The production should be all the more interesting since it's being directed by Cincinnati Shakespeare Company's Brian Isaac Phillips and features a cast of nine excellent actors, four of whom are CSC regulars. It will be onstage through March 16. Box office: 513-300-5669.
To see another award winner, you need to head up I-75 to Dayton where the Human Race Theatre Company is offering the regional premiere of Eric Simonson's bio-play, Lombardi. Set in 1965, it's a portrait of the legendary coach of the Green Bay Packers through the eyes of a young reporter assigned to follow the sports icon, a man full of passion and drive without equal. The show had a recent run on Broadway, and I expect it will attract an audience not normally drawn to the theater. Through Feb. 24. Box office: 937-228-6830
Falcon Theater, which presents its shows in the tiny Monmouth Theatre in Newport, is staging the Tony Award and Pulitzer Prize-winning play Doubt, a success on Broadway, at the Cincinnati Playhouse, and on movie screens. It's the provocative story of a starchy nun who thinks it's possible that a priest has abused one of her students. Although she's not sure, her accusations have dire ramifications. Through Feb. 23. Box office: 513-479-6783
Finally, a blast from the past at UC's College-Conservatory of Music: William Saroyan's The Time of Your Life. Set in October 1939 in a run-down waterfront dive bar on the docks of San Francisco, the script is full of colorful, eccentric characters and portrays the love and follies of human nature. It's being staged by veteran faculty member Diane Kvapil with a cast of 29. This production has a short run (one weekend, wrapping up with a performance in Patricia Corbett Theatre on Sunday at 2 p.m.) Box office: 513-556-4183
By the way, there's apparently such anticipation for Freud's Last Session, which features local actor Bruce Cromer, that tickets are selling out for some performances. As a result, even before the show opens on Jan. 23, ETC has extended the show's run by a week, to Feb. 16. Box office: 513-421-3555
If you haven't yet caught Cincinnati Shakespeare Company's staging of Richard II, you really should make a point of doing so. In my review, I pointed to Brent Vimtrup's multi-faceted performance. I'll add here that there are strong supporting performances from Jim Hopkins, Nick Rose and Giles Davies (this longtime CSC favorite is back in town for a few productions). This show isn't often produced (it's the first time for Cincy Shakes in its 19-year history), but this staging will make you wonder why. It's bursting with poetry, and there's lots to look at with beautiful 14th-century-styled costumes. An Acclaim Awards panel cited Vimtrup's performance as well as Andrew Hungerford's lighting design; I gave the production a Critic's Pick. Need any more encouragement? Tickets: 513-381-2273, x1
Elsewhere, you'll find a production of Adam Rapp's Red Light Winter by Untethered Theater at Clifton Performance Theatre. This is a chilly drama about a weird love triangle. It's a great piece for three young actors. Look for a review in the next issue of CityBeat. (Tickets: 513-939-0599) If you want something a little lighter, consider Moonlight and Magnolias at Mariemont Players, a very dependable community theater on Cincinnati's east side. The show is an amusing reconstruction of the behind-the-scenes shenanigans involved in writing the script for Gone with the Wind. It's told with a lot of slapstick that will have audiences laughing out loud. (513-684-1236)
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 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