In 1850, when Robert S. Duncanson was
painting landscapes on the hallways of what is now the Taft Museum of
Art, art itself had a somewhat different place in popular culture than
it has today. Duncanson’s landscapes are idealized scenes of nature and,
as such, are considered uplifting.
The Lloyd Library and Museum may not be
on your accustomed arts radar but its extraordinary current exhibition
could put it there. Wounded Home reflects the ghastly
physical toll war has on its participants as well as its psychological
toll on them and their families.
The Engraving Trade in Early Cincinnati: With a Brief Account of the Beginning of the Lithograph Trade is
a beautiful book, as it should be, given its subject matter. In the
early years of the 19th century, images
in publications were the way people saw the world beyond their own
Cincinnati Everyday shows us our city as seen by two very different living artists, both of whom find the place endlessly interesting. Cole Carothers and Courttney Cooper are each instinctive artists. That is to say, each makes art because it’s his natural response to what he sees, but how they see is as individual as they are themselves.
Daguerreotypes: someone sitting stiffly,
right? Ninety-nine percent of daguerreotypes would fit that
description, says Tamera Muente, the Taft Museum of Art’s installing
curator for its current show, Photographic Wonders. The surprise of the show, she adds, is that virtually all of it is drawn from that other one percent.
Teenagers look critically at the grownup world, perhaps
because they know they'll be there themselves before long, and they
often don't like what they see. The School for Creative and Performing
Arts students who put together We Put the F.U.N. in Funeral certainly fall into that number, and interpret their title in the most ironic sense.