The camera is a curious instrument. Its
purposes run from mundane to exotic and include a sweeping range
between, but the odd thing is that the operator of the instrument is
reflected whatever the purpose may be.
If Henri Toulouse-Lautrec and Herb Ritts
could have a drink together, they’d find so much to talk about that the
drinks might just keep coming. The Cincinnati Art Museum’s total
collection of Toulouse-Lautrec prints (43) and posters (eight) fill
niches at right and left of the Great Hall balcony entrance to Herb Ritts: L.A. Style, providing that sensuous outlay of black and white photographs with an historic backdrop.
Why are Hollywood glamour photographs on
display at the Taft Museum of Art? FotoFocus isn’t reason enough; the
Taft likes to establish a tie between the renowned permanent collection
and temporary exhibitions. So what is Myrna Loy doing here?
The god in Manifest Gallery’s Deus Ex Machina does
not arise from the traditional machine (that crane elevating a Greek
actor of ancient times to meet a plot need for divine intervention), but
instead from our handy modern device, the camera.
The young women photographed in Another Me: Transformations from Pain to Powerhave
all been victims of kidnapping or outright sale of themselves into sex
slavery. One is as young as 8 years old, none are more than 22. Rescued
and placed in the Sanlaap Shelter in Kolkata, they found returning to a
self they had lost hard going.
Stuart Fink’s Shape to Shape at
Brazee Street Studios’ gallery One One bristles with energy, mostly
dispenses with narrative (who needs it?) and includes paintings as well
as sculpture. Best known as a sculptor, Fink studied to be a painter and
never really gave it up.