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.
Might a picture be worth a thousand songs? It’s possible that a photograph, as much
as an MP3 player full of tunes or a head full of memories, is the best
way to recall attending a concert by a favorite act. Not just something
shot far from the stage on your shaky iPhone, but rather the kind of
image that an inspired photographer — with media access and lots of
skill — can take up close.
As home to Vessels: All the Eyes Can Hold, Kennedy Heights Arts Center is a vessel itself, brimming with nearly 100 works representing 57 artists. Co-curator Lynn Conaway saw to it that
this wouldn’t be a show of only stoneware pots, which is an easy place
to go when the theme is “vessels,” so she asked artists to think outside
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.
There’s something special about ideas
committed to paper. While our thumbs rest from texting, our fingertips
appreciate the tactile sensation of a physical page. As we create and
study images, our brains connect moments from our past, forming a trail.
Ceramics artists Katie Parker and Guy
Michael Davis, who teach at the University of Cincinnati and frequently
create installations as a duo known as Future Retrieval, are well versed
in the traditions upon which their art relies. But in their effort to
push the limits of their studio practice, they’ve found ways to
incorporate technological innovations and play upon thematic conventions
to make their work fresh and relevant.
JonPaul Smith’s work operates on various levels. It is at once visually appealing — almost like a “Magic Eye” pattern with the horizontally repeating grid, sometimes giving the illusion of depth of field, depending on the artist’s arrangement.
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.