What should I be doing instead of this?
 
WHAT SHOULD I BE DOING INSTEAD OF THIS?
 
 

Art: A.J. Weber at Mary Ran Gallery

0 Comments · Tuesday, March 1, 2016
Mary Ran Gallery is opening a show that brings to light an interesting Cincinnati painter of the past, A. J. Weber.   

Art: Cotton or Fruit/Flowers at Live(In) Gallery

0 Comments · Tuesday, March 1, 2016
Partners and co-directors of their own apartment-based art venue in Chicago, Kitchen Space, artists and independent curators Traci Fowler and Trevor Schmutz will have an opening reception of their collaborative work at Live(In) Gallery in Brighton.  

Art: Look Here! Curator Walk

0 Comments · Tuesday, March 1, 2016
Look Here!, an outdoor, site-specific photo installation project throughout Over-the-Rhine, is coming to an end.  
by Cassie Lipp 02.03.2016 90 days ago
Posted In: Arts community, Visual Art at 12:00 PM | Permalink | Comments (0)
 
 
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Slice of Cincinnati: Cincinnati Art Museum's Conservation Department

It’s the 15th century, and remnants of the Middle Ages hang over Europe as it unknowingly waits for the Renaissance. In the dim candlelight somewhere in Spain shines an altarpiece painted to depict the lives of St. Peter and Jesus Christ along with images of the Virgin Mary and other saints. With its impressive strokes of paint and gold and silver leaf, Lorenzo Zaragoza’s “Retablo of St. Peter” is remarkable to behold. More than 600 years later, the altarpiece rests under the skilled hands of Cincinnati Art Museum’s chief conservator Serena Urry. With only the clack of museum visitor’s shoes disturbing the quiet peace, the setting resembles the serenity of the piece’s original home. Zaragoza’s piece has stood the test of time, more or less. While it has been admired by thousands of Cincinnati Art Museum visitors since the museum purchased the piece in1960, it was taken off exhibit in 2010 due to its poor condition. It is now back on exhibit through April 24, as visitors can watch Urry bring the retablo to life again through cleaning all 18 of its panels. It’s a two-in-one exhibit, giving visitors an insider’s look at the work done by the museum’s conservation department while they view and learn about the piece. Established in 1935, the museum’s conservation department is one of the oldest in the country. Since then it has grown from one part-time paintings conservator to four professionally trained conservators, each of whom have their own specialization in paintings, paper, textiles or objects. The department is in charge of conserving the museum’s entire collection (with the exception of works that are on loan to the museum). Urry proposed the exhibit because the retablo needed to be treated before it could go back on view in the galleries. However, this is no small task — the retouching is not expected to be complete for another few years. On view in the exhibit is only the first step of the process: cleaning and consolidating. “Museums usually put conservation on view to the public when the work of art is simply too big to remove it from the gallery or garden,” Urry says. Before the retablo was taken off exhibit, it was the only piece in the room it occupied. Conserving a work of art like the retablo first involves examining them closely under infrared and ultraviolet light. Ultraviolet light reveals differences on the painting’s surface that are not visible to the naked eye; infrared light reveals what is underneath the paint on the ground layer. Urry says determining the full condition of a piece of art before beginning its conservation treatment is the hardest part of conserving art. The two most important tenants that guide painting conservation are reversibility, which ensures that nothing will be done to the work that cannot be removed later, and dissimilarity, which means suing conservation materials that are not found in the original painting. Of course, Uri’s conservation efforts are not the first for the retablo. With a piece of art this old, it is common for there to be many years of retouching — the first effort to conserve the retablo may have occurred around the early 1500s. It is believed that the central sculpture of St. Peter was created to replace the original lost piece. Urry’s work includes using a variety of solvents, hand tools and a hot air gun to remove the effects of older retouching campaigns, such as discolored varnish and wax. This includes a layer of wax added by the Art Museum in 1960 to contain flaking. Since then it has become clouded with dust and grime, and the wax tinted to match the gold leaf of the painting has discolored to a greenish metallic hue. After cleaning, painting conservation also involves structural treatments, such as modifying or replacing the canvas, its lining and stretcher. There may also be surface treatments done to conserve paintings, such as filling losses of paint, toning the fillings and adding layers of varnish. “All of the paintings in a multi-piece work like this should be worked on together to ensure consistency,” Urry says. “The gallery space gives me an opportunity to have all of them on view as they are conserved.”
 
 

Art: The Cincinnati Art Museum's Reopened Third-Floor Galleries

0 Comments · Wednesday, December 23, 2015
The Cincinnati Art Museum opened galleries 103-105 on the first floor to the public for the first time this past fall, providing curators with another dedicated space to showcase artwork from the institution’s vast permanent collection.   

Art: Everything is Going to be Alright at the Art Academy

0 Comments · Wednesday, December 2, 2015
The Art Academy of Cincinnati hosts an exhibition reception for Alabama-based photographer Jared Ragland’s show of lens-based art at the AAC’s Covergys Gallery.  

Art: Gimmie Gimmie Gimmie at the Weston Art Gallery

0 Comments · Wednesday, November 18, 2015
The Weston Art Gallery hosts an opening reception for Gimmie Gimmie Gimmie, an exhibition organized by artist and sometimes-curator Todd Pavlisko.  

Visionaries at Work

Artists at Visionaries + Voices prepare for the nonprofit’s major annual event, Double Vision

0 Comments · Wednesday, December 2, 2015
For the nonprofit organization Visionaries + Voices, the upcoming Double Vision auction of art is a crucial event. Held annually, it’s the organization’s biggest and most high-profile public fundraiser.  

Art: Artists as Community Organizers at Wave Pool

0 Comments · Wednesday, November 18, 2015
How do artists play a pivotal role in community engagement? In conjunction with its current exhibit, Holding Ground (on view until Nov. 21), Wave Pool hosts a panel discussion that seeks to delve into some potential answers.   

A ‘Field Guide’ to Magical Thinking

0 Comments · Wednesday, November 18, 2015
Jochen Lempert, the German photographer whose first major U.S. museum show, Field Guide, is now at the Cincinnati Art Museum, combines the metaphysical with the biological so well that the effect is often magical.   

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