Memphis, the 2010 Tony Award winner for best musical, is loosely based
on the story of a white disc jockey who crossed the color line and
played black music on the radio in the racially divided Tennessee city, and it’s a story worth witnessing.
My grandmother would say to me, in
German, “Paper is patient,” explaining that one could write anything he
or she wanted on paper, whether true or false. Though I’d always associated the quote with the written word, I was reminded of it while considering Pulp Art, a
show by 11 paper artists at the Carnegie Visual and Performing Arts
Six local companies make up Losantiville
Collective, located on Main Street in Over-the-Rhine. The collective is
owned by Dixon (Dixon Branded), Chris Heckman and Matt Anthony
(co-founder, The LaunchWerks).
This may seem a strange way to start a
review of the year in Cincinnati’s visual arts, but the piece that stays
with me the most — haunts me, really — doesn’t even fit any traditional
definition of art.
If you’re looking for cliché presents, head to your
nearest department store. If you and your favorite recipients are
looking for a memorable exhibit, head to the Weston Art Gallery for Straight from the Soul, a 25-year retrospective by the Atlanta artist.
Matthew Rolston has taken close-up portraits, startlingly realistic
headshots, of some 200 figures — colloquially known as dummies — at Fort
Mitchell, Ky.’s Vent Haven ventriloquism museum. The results are in a
new book, Talking Heads, to be published next month by Pointed Leaf Press.
NINE is just fine — both the name and the Carnegie exhibit. The title discloses only the number of
artists, who represent ceramics, sculpture, painting, glass and mixed
media. The show is without an obvious or assigned theme. But rather than
feeling like a mish-mash, it works.