by Steven Rosen
8 days ago
Posted In: Film
at 01:17 PM | Permalink
Cincinnati & Northern Kentucky Film Commission — or an enterprising
arts-tourism travel agent — might want to look at organizing a charter from
here to attend the New York Film Festival from Sept. 25 to Oct. 11.
announced at the fest were two dramatic films shot in Cincinnati — Todd Haynes’
Carol with Cate Blanchett and Rooney
Mara, and the closing-night world premiere of Don Cheadle’s Miles Ahead, a biopic about Miles Davis.
film with strong Cincinnati connections — Troublemakers:
The Story of Land Art — has been named one of 12 documentaries to be
showcased at the festival. Its screening dates are Oct. 1 and 4.
director, James Crump, was photography curator and chief curator at Cincinnati
Art Museum from 2008 until resigning in 2013. And its executive producer is
Ronnie Sassoon, the Cincinnati-born widow of hairstylist Vidal Sassoon. Crump in 2007 had directed Black, White + Gray, a documentary about
the relationships between Robert Mapplethorpe, Sam Wagstaff and Patti Smith.
11 other documentaries in the fest are Field
of Vision: New Episodic Nonfiction by Laura Poitras, whose Citzenfour won an Academy Award this year,
and In Jackson Heights, the latest
from Frederick Wiseman.
There might be others with strong local connections, too.
the Film Festival’s program notes for Troublemakers.
titular troublemakers are the New York–based Land (aka Earth) artists of the
1960s and 70s, who walked away from the reproducible and the commodifiable,
migrated to the American Southwest, worked with earth and light and seemingly
limitless space, and rethought the question of scale and the relationships between
artist, landscape, and viewer. Director James Crump (Black White + Gray)
has meticulously constructed Troublemakers from interviews (with Germano
Celant, Virginia Dwan, and others), photos and footage of Walter De Maria,
Michael Heizer, Robert Smithson, Nancy Holt, and Charles Ross at work on their
astonishing creations: Heizer’s Double Negative, a 1,500-feet long
“line” cut between two canyons on Mormon Mesa in Nevada; Holt’s concrete Sun
Tunnels, through each of which the sun appears differently according to the
season; De Maria’s The Lightning Field in New Mexico; and Smithson’s Spiral
Jetty, built on the Great Salt Lake in Utah. A beautiful tribute to a great
moment in art.”
by Steven Rosen
112 days ago
at 02:17 PM | Permalink
James Crump, the Cincinnati Art Museum's chief curator/photography curator who was a key figure in the planning and programming of the first FotoFocus festival in 2012 and then resigned from the museum in early 2013, has re-emerged as the director of a new documentary, Troublemakers: The Story of Land Art. It tells the story, with plenty of archival footage, of three restless New York artists in the who — as part of the 1960s/1970s rebellion against materialistic values sweeping American culture — sought to create epic art that was one with the outdoor environment, especially in the open and hard-to-access spaces of the west. That, they thought, would make it hard to buy and own. Robert Smithson created "Spiral Jetty" in Utah, Walter De Maria made New Mexico's "Lightning Field," and Michael Heizer did "Double Negative" in Utah and is still working on "City." (The other two are deceased.)Other artists featured in the film are Nancy Holt (who has an environmental artwork at Miami University), Dennis Oppenheim, Carl Andre and Vito Acconci. In an exchange of emails with CityBeat, Crump said he is hoping for the film to show at festivals and then get a limited theatrical release in fall, followed by availability on other distribution platforms. He also said his sales agent, Submarine Entertainment, represented Citizenfour and Finding Vivien Maier.Before coming to Cincinnati, Crump made a documentary about Robert Mapplethorpe's relationship to Sam Wagstaff, Black White + Gray.He has provided CityBeat with a link to Troublemakers' trailer:Trailer courtesy Summitridge Pictures. © RSJC LLC, 2015.
0 Comments · Wednesday, July 10, 2013
It was always the stated intention of
FotoFocus Director Mary Ellen Goeke — and thus presumed fact — that the
photography celebration would be a biennial event. Thus, it would be
back in October 2014.
0 Comments · Wednesday, April 17, 2013
In advance of last year’s FotoFocus
festival, probably the largest photography-related event in Cincinnati’s
history, I asked James Crump — the festival’s co-chair and then chief
curator/curator-at-large at Cincinnati Art Museum — if there wasn’t an
unspoken spirit hovering over the proceedings: Robert Mapplethorpe.
by Steven Rosen
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.
0 Comments · Wednesday, November 14, 2012
I hope the inaugural FotoFocus, which has
formally concluded although related exhibits still are up around town,
was successful by the standards of its organizers, and that they are
eager to plan for the next one in 2014.
by Steven Rosen
Posted In: Visual Art
at 02:44 PM | Permalink
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
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.
0 Comments · Tuesday, October 16, 2012
Shooting outdoors separated photographer Herb Ritts from
studio-based New York peers. In addition to Malibu and El Mirage, Ritts
used a rooftop studio. He established a fun, “organic” working
environment, enabling him to cajole his subjects and develop an
“anti-glamour” style of celebrity photography.
by Steve Rosen
Posted In: Visual Art
at 10:43 AM | Permalink
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
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
“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
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?
Watch for Contributing Visual Art Editor Steven Rosen’s FotoFocus blog postings all month. Contact him at firstname.lastname@example.org.
Famed photographer's career gets revised in Cincinnati Art Museum exhibit
0 Comments · Wednesday, June 23, 2010
Cincinnati Art Museum's 'Walker Evans: Decade by Decade' opens with a rather bold statement that Evans is "probably the single greatest American photographer ever to have worked in the 20th century." An introduction like that certainly raises the stakes for an exhibition. I don't feel that, taken alone, the show proves he was the "single greatest" of the last century, but I also don't believe that's the show's objective.