The Indianapolis Museum of Art has announced it will open 100 Acres: The Virginia B. Fairbanks Art & Nature Park on June 20, 2010 with a public grand opening celebration including tours and a Summer Solstice program. Located on 100 acres of land that includes untamed woodlands, wetlands, a lake, and meadows adjacent to the Museum, 100 Acres will be one of the largest museum art parks in the country and the only one to feature the ongoing commission of temporary, site-responsive artworks. The park will open with eight newly commissioned inaugural works by international artists, a LEED certified visitor center and numerous walking trails that highlight the indigenous landscape. As with the IMA galleries, admission to 100 Acres will be free.
In 2008, the IMA announced the eight inaugural commissions for the park. Atelier Van Lieshout, Kendall Buster, Alfredo Jaar, Jeppe Hein, Los Carpinteros, Tea Mäkipää, Type A and Andrea Zittel have spent several years working closely with the IMA to develop projects that explore and respond to the varied environments of 100 Acres. The IMA’s goal is to present contemporary art projects and exhibitions that provoke a reexamination of humanity’s multifaceted relationship with the environment.
You can read more about 100 Acres on Art Daily.
Wednesday, September 30, 2009
Saturday, September 26, 2009
With the opening of "Parallel Space," Manifest Becomes an Artist Gallery
Last night Manifest Gallery inaugurated its new "Parallel Space," adding more gallery space to one of Cincinnati's best art galleries. The new space no doubt allows Director, Jason Franz to respond to the growing number of submissions for each artist call Manifest sends out throughout the year. This is not to say Franz and Assistant Director, Tim Parsley are growing less selective in order to hang more work, but instead employs even more selectivity to use the opportunity to invite new and previously shown artists to return to Cincinnati for solo shows.
San Francisco artist Kirstine Reiner returns to Manifest for her solo show, (In)animate. The simply breathtaking realism of her paintings of still life, genre, and portraiture recalls a Dutch tradition. Even subjects like fruit, teapots, camera lens and mirrors seem to reference the interests of the earlier artists. Yet it is these same objects that expose themselves as contemporary or at the very least modern. It is almost as if Reiner invites us to see our lives through the eyes of an earlier era.
The photographs by Andrea Hoelscher are a fitting inaugural show for "Parallel Space" as she explores remodeling architectural spaces, by "remolding" familiar spaces through photographs. Interestingly, these beautifully glossy photos were a bit more unsettling than Reiner's paintings. I'm still amused at my own frustration at knowing that I simply must know where Hoelscher shot these photographs and to learn only they are interiors of a Museum or Library or a Public Bathroom. Of course it does not matter which museum or library for Interior, but I still want to know.
Monochrome simply knocks your socks off as soon as you walk into Manifest's main gallery. As with most thematic shows, you really never know what to expect. However, recently I have grown more suspect of shows revolving around a single element or medium. Too often the result is a collection of pieces that seemed to have been thrown together simply to meet the parameters of the show. Well, Monochrome is not that exhibition. Not only is every piece incredibly engaging, but the diversity of new well-thought out ideas and various media is great to see.
As we see with these three exhibitions, their diversity extends to the showing artists as well. For the past year or more Manifest Gallery has shown work by artists from places that increasingly extend well beyond our region. While this is sure to help put Manifest on the map of Midwestern art galleries, what's more important is Manifest is quickly becoming the gallery that attracts not only local patrons of the arts, but local artists. Manifest Gallery has worked to assure our artists an opportunity to engage the international art discussion. It is for this reason I see Manifest as an Artist Gallery.
San Francisco artist Kirstine Reiner returns to Manifest for her solo show, (In)animate. The simply breathtaking realism of her paintings of still life, genre, and portraiture recalls a Dutch tradition. Even subjects like fruit, teapots, camera lens and mirrors seem to reference the interests of the earlier artists. Yet it is these same objects that expose themselves as contemporary or at the very least modern. It is almost as if Reiner invites us to see our lives through the eyes of an earlier era.
The photographs by Andrea Hoelscher are a fitting inaugural show for "Parallel Space" as she explores remodeling architectural spaces, by "remolding" familiar spaces through photographs. Interestingly, these beautifully glossy photos were a bit more unsettling than Reiner's paintings. I'm still amused at my own frustration at knowing that I simply must know where Hoelscher shot these photographs and to learn only they are interiors of a Museum or Library or a Public Bathroom. Of course it does not matter which museum or library for Interior, but I still want to know.
Monochrome simply knocks your socks off as soon as you walk into Manifest's main gallery. As with most thematic shows, you really never know what to expect. However, recently I have grown more suspect of shows revolving around a single element or medium. Too often the result is a collection of pieces that seemed to have been thrown together simply to meet the parameters of the show. Well, Monochrome is not that exhibition. Not only is every piece incredibly engaging, but the diversity of new well-thought out ideas and various media is great to see.
As we see with these three exhibitions, their diversity extends to the showing artists as well. For the past year or more Manifest Gallery has shown work by artists from places that increasingly extend well beyond our region. While this is sure to help put Manifest on the map of Midwestern art galleries, what's more important is Manifest is quickly becoming the gallery that attracts not only local patrons of the arts, but local artists. Manifest Gallery has worked to assure our artists an opportunity to engage the international art discussion. It is for this reason I see Manifest as an Artist Gallery.
Wednesday, September 16, 2009
ArtWord: Don Lambert
This year the Cincinnati Art Museum selected Don Lambert for The 4th Floor Award biennial competition. Don Lambert received his BFA from the University of Cincinnati and his MFA with an emphasis in sculpture and new genres from The School of the Art Institute of Chicago.
Lambert says of his work,
"I am fascinated with the production of image, knowledge, and the building of institutions. My central research interests lie within the domains of social identity and cognition. I am specifically interested in motivational aspects of social identification and how social identities may be used to satisfy individuals’ needs for assimilation and differentiation- belonging and remaining distinct. The thread that runs through the whole of my work is an interest in understanding the importance of relationship in the lives of individuals."
With the opening of his solo show, Don Lambert: Supernova Terra Firma, I had an opportunity to meet with the artist during which we talked about Edwin Abbott's Flatland, social perceptions and identities, and border crossings.
1. While often conceptual art seems too inaccessible to the average museum visitor, the works that make up Supernova Terra Firma are at once inviting. Unlike much of the art in the Cincinnati Art Museum, your work encourages, and even relies on the viewer’s physical interaction. Not only do the spinning discs of "Flatland: VL Array" attract the eyes of anyone who might happen to walk by the gallery, but the tactile nature of "Lawn Jobs" encourage the viewer’s touch and the moving pieces that make up "Changing Landscape" instantly recall childhood puzzles. In some respects your work has turned this gallery into a fun house. For this exhibition did you aim to recall not only the changing geographic and social boundaries, but also to challenge the social borders and rules that make up art museum culture specifically?
The work in Supernova Terra Firma does encourage interaction on a variety of levels. The theme that connects all the work in this particular show is perception; I'm interested in processes of perception as they relate to the formation of both our judgments and our ideologies- how we understand the world. I use interaction to create an awareness of these processes. You mentioned the fun house, but to me fun house implies an abandoning of the mind for a purely sensory experience. I'm seeking to do the opposite, to use the senses to free up the mind, not to abandon it. I intentionally use interaction to facilitate this paradigm shift, albeit subtle, and at times subconscious. As for challenging museum culture in particular, let me first say that my work always starts with questions and ideas, which are worked out through experimentation in both the studio and throughout everyday life. It's the process where things start to unfold for me. The process is a place for experimentation, and for me, experimentation is play. I've always been interested in letting the process flow out of the studio, first onto the streets, and then into the space of the gallery through interaction. It's an extension of the play that happens throughout my process, and a way of inviting the viewer to become a participant in the work. On differing levels the works do require the viewer's interaction, but they are not limited to a purely sensory experience. Back to the culture... In the gallery, and especially the museum, we still tend to view art with our hands behind our back, tip toeing around the space. It's a strange reverence for inanimate objects. By introducing the element of play into the gallery, I reach the viewer on a different plane, accessing a different set of social rules. So yes, in this way I am circumventing the rules of the museum, but it's not my goal, it's simply a way to open things up. A way of freeing the viewer.
CHANGING LANDSCAPE, 2003.
LATEX, GRAPHITE AND POLYURETHANE ON WOOD; FORTY-TWO UNITS. 156 X 276 X 3 ½ IN. OVERALL
2. My recent re-reading of Edwin Abbott’s Flatland drew me to a repeated motif about the assumptions of a correct way of looking at the world. That our culture imposes certain rules of representation in which we must abide. This intent by the viewer seems to play out in entertaining ways in the gallery. After visiting the show a couple of times, I found myself drawn to watching how other visitors interacted with your work. Particularly intriguing is watching those absolutely intent on making sure the map of the world is presented correctly; that all of the pieces on the floor are in place and the wall pieces line up correctly. What do you make of what seems to be our need to set this straight? Is it simply an invitation to work the puzzle? What happens when viewers walk into the gallery and let’s say the wall puzzles are solved? Are we then discouraged from interacting? Do the rules of the museum (don’t touch) step in? If so, how do we then gain from your work the notion of fluidity of borders?
Perception, cognition, representation, philosophies and cosmoligies... I resonated with the questions Abbott raised regarding these. His book may read as too simple for our tastes today, but if we are honest in our critique of (post) post modern society, then although the details may be different, the questions he raises are as relevant and revolutionary as they were when he wrote them over 100 years ago. Rules are so much a part of our lives, and our societies, that they often become invisible and immune to our criticism and critique. The work in Supernova Terra Firma puts some of these processes, these rules, back under the light of scrutiny. In "Lawn Jobs," it's as simple as challenging the dominance and spread of the suburban landscape and the industrial lawn. Why do we spend billions of dollars a year, not to mention countless amounts of water and energies, to sustain a crop that yields nothing more than eye candy, a false sense of nature, and our supposed dominion over it? I'm interested in the ideologies that bring us to accept these notions as the norm. When you ask about people abiding by the rules of representation, you hit the nail on the head. From childhood, we are taught to do things a certain way, that the world looks a certain way, and that there are certain ways to act. My theory is that the reason we, as humans, often move on in life without questioning these things has a lot to do with insecurity and expedience. Routine and habit can be very comforting, which I've seen raising my own children. And continual testing is not only impractical, but counter productive. That being said, I do feel there is plenty of room in our society for more honest constructive critique and that we would be better off for it. Getting back to the show... I have noticed that people, in general, are more interested in "correcting" the map than in exploring other possibilities. But this is a generalization. I have also experienced both individuals and groups do some amazing and unexpected things with the puzzle shapes and land masses. Personally, I'm all about mixing it up. If I visit the gallery and find that all the puzzles have been solved, my first order of business is to jumble them up again. Maybe people are interested in the general challenge of solving a puzzle, maybe they want to prove they can do it, or maybe they just feel more secure with things back to normal. I don't know, but regardless, I do hope it gets them thinking. In answering the last part of your question, I agree that the welcomed physical interaction adds to the overall experience of the work, and usually affords interesting dialogue and relations that would not happen otherwise. However, the ideas driving the work are still accessible through a traditional object/viewer relationship. In "Changing Landscape," for instance, the form of the piece (a large sliding block puzzle) suggests movement and fluidity, while the choice of materials (pencil lines on white fields) suggest temporality or the idea of something being unfinished. Similarly, we can visually identify the texture of the artificial lawn drawings because of past experiences with lawn. And in Flatland, we can see, with little effort, that a simple black and white disc is somehow producing a complex array of colors. So in this way, the work is not so different from many other artworks. It all relies, to some extent, on the viewer's participation; the only question is how far they are willing or able to go.
3. Much of your work, here in this show and elsewhere explore how perspective defines notions of our racial and cultural identities. " Flatland: VL Array" deals quite effectively with racial divisions, "Lawn Jobs" invites questions about roles in domestic settings, and "Changing Landscapes" encourages us to engage the subject of emigration and the changing global lines that define. We often hear claims of becoming more global. What does this mean? Are our identities shifting towards something that is more global? Or are we finding new ways to define ourselves and simply redrawing the lines of cultural separation?
Global-speak has been a hot topic for some time now, but I think it means different things to different people. Either way, people feel strongly about the subject. This becomes obvious the more you read, watch the news, or converse with people on the topic. Personally, I would like to think humanity is coming closer, that we are nearing a global community, but I don't think reality supports that. Instead, I'm inclined to think more inline with what you've suggested in your question- that we are simply finding new ways to define and separate ourselves. One thing is for sure, we are becoming interconnected on a level and with a complexity that is unprecedented. And just as plant and animal species are effected by the physical movement of goods across the globe, we cannot help but be effected by the movement and exchange of ideas and philosophies. But this does not suggest that we are moving toward some absolute cultural homogeneity, or even that the divisions that separate us are narrowing. On the contrary, we probably exercise the same divisiveness as a species as all our preceding generations. Of course, this is all conjecture and only time will bring forth the answer to your question.
Lawn Jobs: Concentric Squares
4. Similarly, identity themes with which you deal in Supernova Terra Firma are well-known to American viewers. We engage and hopefully welcome this discussion. In fact, it is part of being American. How does your work translate internationally, globally if you will? I am very curious as to how you deal with these ideas outside the US, when you as an artist or an individual cross borders. Are the themes relevant?
Some of the work does come out of a specifically American experience, "Lawn Jobs" in-particular. But at it's essence all the work can be understood on a very human level, because it's about just that- being human. Dealing with perception and identity is universal. My approach to these subjects is specific to my experiences, and as with any other art form (albeit music or literature) they may resonate more with people who have some understanding of those experiences. But this is not to say that a work of art can only be appreciated, or understood, from a full understanding of the context in which it was created. Enhanced, yes, but all is not lost in the exportation process. That's where dialogue comes in. We experience each other's work, we ask questions, we talk, and we learn. It's a process. Like any artist, my work is reliant on the viewer's participation and how deep are they willing to dig. Lately, I've been thinking of these pieces as a collection of conceptual pyramids. On the surface you have the finished objects, easily accessible without too much effort. However, if you are inclined to dig, you will be rewarded with a widening base of research and tangential ideas related to and trenched within the actual art object. My hope is that most people will get the overall gist without too much effort, and that some will be inclined to go deeper. As you can see, I like conversation, and my art is quite simply an extension of several ongoing conversations.
You can see Don Lambert: Supernova Terra Firma at The Cincinnati Art Museum, where it will be on view through November 29th. The artist is scheduled to give a talk this Saturday, September 19th at 1pm. Both the exhibition and the talk are free and open to the public.
You can also read Jane Durrell's review of this exhibition here.
Lambert says of his work,
"I am fascinated with the production of image, knowledge, and the building of institutions. My central research interests lie within the domains of social identity and cognition. I am specifically interested in motivational aspects of social identification and how social identities may be used to satisfy individuals’ needs for assimilation and differentiation- belonging and remaining distinct. The thread that runs through the whole of my work is an interest in understanding the importance of relationship in the lives of individuals."
With the opening of his solo show, Don Lambert: Supernova Terra Firma, I had an opportunity to meet with the artist during which we talked about Edwin Abbott's Flatland, social perceptions and identities, and border crossings.
1. While often conceptual art seems too inaccessible to the average museum visitor, the works that make up Supernova Terra Firma are at once inviting. Unlike much of the art in the Cincinnati Art Museum, your work encourages, and even relies on the viewer’s physical interaction. Not only do the spinning discs of "Flatland: VL Array" attract the eyes of anyone who might happen to walk by the gallery, but the tactile nature of "Lawn Jobs" encourage the viewer’s touch and the moving pieces that make up "Changing Landscape" instantly recall childhood puzzles. In some respects your work has turned this gallery into a fun house. For this exhibition did you aim to recall not only the changing geographic and social boundaries, but also to challenge the social borders and rules that make up art museum culture specifically?
The work in Supernova Terra Firma does encourage interaction on a variety of levels. The theme that connects all the work in this particular show is perception; I'm interested in processes of perception as they relate to the formation of both our judgments and our ideologies- how we understand the world. I use interaction to create an awareness of these processes. You mentioned the fun house, but to me fun house implies an abandoning of the mind for a purely sensory experience. I'm seeking to do the opposite, to use the senses to free up the mind, not to abandon it. I intentionally use interaction to facilitate this paradigm shift, albeit subtle, and at times subconscious. As for challenging museum culture in particular, let me first say that my work always starts with questions and ideas, which are worked out through experimentation in both the studio and throughout everyday life. It's the process where things start to unfold for me. The process is a place for experimentation, and for me, experimentation is play. I've always been interested in letting the process flow out of the studio, first onto the streets, and then into the space of the gallery through interaction. It's an extension of the play that happens throughout my process, and a way of inviting the viewer to become a participant in the work. On differing levels the works do require the viewer's interaction, but they are not limited to a purely sensory experience. Back to the culture... In the gallery, and especially the museum, we still tend to view art with our hands behind our back, tip toeing around the space. It's a strange reverence for inanimate objects. By introducing the element of play into the gallery, I reach the viewer on a different plane, accessing a different set of social rules. So yes, in this way I am circumventing the rules of the museum, but it's not my goal, it's simply a way to open things up. A way of freeing the viewer.
CHANGING LANDSCAPE, 2003.LATEX, GRAPHITE AND POLYURETHANE ON WOOD; FORTY-TWO UNITS. 156 X 276 X 3 ½ IN. OVERALL
2. My recent re-reading of Edwin Abbott’s Flatland drew me to a repeated motif about the assumptions of a correct way of looking at the world. That our culture imposes certain rules of representation in which we must abide. This intent by the viewer seems to play out in entertaining ways in the gallery. After visiting the show a couple of times, I found myself drawn to watching how other visitors interacted with your work. Particularly intriguing is watching those absolutely intent on making sure the map of the world is presented correctly; that all of the pieces on the floor are in place and the wall pieces line up correctly. What do you make of what seems to be our need to set this straight? Is it simply an invitation to work the puzzle? What happens when viewers walk into the gallery and let’s say the wall puzzles are solved? Are we then discouraged from interacting? Do the rules of the museum (don’t touch) step in? If so, how do we then gain from your work the notion of fluidity of borders?
Perception, cognition, representation, philosophies and cosmoligies... I resonated with the questions Abbott raised regarding these. His book may read as too simple for our tastes today, but if we are honest in our critique of (post) post modern society, then although the details may be different, the questions he raises are as relevant and revolutionary as they were when he wrote them over 100 years ago. Rules are so much a part of our lives, and our societies, that they often become invisible and immune to our criticism and critique. The work in Supernova Terra Firma puts some of these processes, these rules, back under the light of scrutiny. In "Lawn Jobs," it's as simple as challenging the dominance and spread of the suburban landscape and the industrial lawn. Why do we spend billions of dollars a year, not to mention countless amounts of water and energies, to sustain a crop that yields nothing more than eye candy, a false sense of nature, and our supposed dominion over it? I'm interested in the ideologies that bring us to accept these notions as the norm. When you ask about people abiding by the rules of representation, you hit the nail on the head. From childhood, we are taught to do things a certain way, that the world looks a certain way, and that there are certain ways to act. My theory is that the reason we, as humans, often move on in life without questioning these things has a lot to do with insecurity and expedience. Routine and habit can be very comforting, which I've seen raising my own children. And continual testing is not only impractical, but counter productive. That being said, I do feel there is plenty of room in our society for more honest constructive critique and that we would be better off for it. Getting back to the show... I have noticed that people, in general, are more interested in "correcting" the map than in exploring other possibilities. But this is a generalization. I have also experienced both individuals and groups do some amazing and unexpected things with the puzzle shapes and land masses. Personally, I'm all about mixing it up. If I visit the gallery and find that all the puzzles have been solved, my first order of business is to jumble them up again. Maybe people are interested in the general challenge of solving a puzzle, maybe they want to prove they can do it, or maybe they just feel more secure with things back to normal. I don't know, but regardless, I do hope it gets them thinking. In answering the last part of your question, I agree that the welcomed physical interaction adds to the overall experience of the work, and usually affords interesting dialogue and relations that would not happen otherwise. However, the ideas driving the work are still accessible through a traditional object/viewer relationship. In "Changing Landscape," for instance, the form of the piece (a large sliding block puzzle) suggests movement and fluidity, while the choice of materials (pencil lines on white fields) suggest temporality or the idea of something being unfinished. Similarly, we can visually identify the texture of the artificial lawn drawings because of past experiences with lawn. And in Flatland, we can see, with little effort, that a simple black and white disc is somehow producing a complex array of colors. So in this way, the work is not so different from many other artworks. It all relies, to some extent, on the viewer's participation; the only question is how far they are willing or able to go.
3. Much of your work, here in this show and elsewhere explore how perspective defines notions of our racial and cultural identities. " Flatland: VL Array" deals quite effectively with racial divisions, "Lawn Jobs" invites questions about roles in domestic settings, and "Changing Landscapes" encourages us to engage the subject of emigration and the changing global lines that define. We often hear claims of becoming more global. What does this mean? Are our identities shifting towards something that is more global? Or are we finding new ways to define ourselves and simply redrawing the lines of cultural separation?
Global-speak has been a hot topic for some time now, but I think it means different things to different people. Either way, people feel strongly about the subject. This becomes obvious the more you read, watch the news, or converse with people on the topic. Personally, I would like to think humanity is coming closer, that we are nearing a global community, but I don't think reality supports that. Instead, I'm inclined to think more inline with what you've suggested in your question- that we are simply finding new ways to define and separate ourselves. One thing is for sure, we are becoming interconnected on a level and with a complexity that is unprecedented. And just as plant and animal species are effected by the physical movement of goods across the globe, we cannot help but be effected by the movement and exchange of ideas and philosophies. But this does not suggest that we are moving toward some absolute cultural homogeneity, or even that the divisions that separate us are narrowing. On the contrary, we probably exercise the same divisiveness as a species as all our preceding generations. Of course, this is all conjecture and only time will bring forth the answer to your question.
Lawn Jobs: Concentric Squares4. Similarly, identity themes with which you deal in Supernova Terra Firma are well-known to American viewers. We engage and hopefully welcome this discussion. In fact, it is part of being American. How does your work translate internationally, globally if you will? I am very curious as to how you deal with these ideas outside the US, when you as an artist or an individual cross borders. Are the themes relevant?
Some of the work does come out of a specifically American experience, "Lawn Jobs" in-particular. But at it's essence all the work can be understood on a very human level, because it's about just that- being human. Dealing with perception and identity is universal. My approach to these subjects is specific to my experiences, and as with any other art form (albeit music or literature) they may resonate more with people who have some understanding of those experiences. But this is not to say that a work of art can only be appreciated, or understood, from a full understanding of the context in which it was created. Enhanced, yes, but all is not lost in the exportation process. That's where dialogue comes in. We experience each other's work, we ask questions, we talk, and we learn. It's a process. Like any artist, my work is reliant on the viewer's participation and how deep are they willing to dig. Lately, I've been thinking of these pieces as a collection of conceptual pyramids. On the surface you have the finished objects, easily accessible without too much effort. However, if you are inclined to dig, you will be rewarded with a widening base of research and tangential ideas related to and trenched within the actual art object. My hope is that most people will get the overall gist without too much effort, and that some will be inclined to go deeper. As you can see, I like conversation, and my art is quite simply an extension of several ongoing conversations.
You can see Don Lambert: Supernova Terra Firma at The Cincinnati Art Museum, where it will be on view through November 29th. The artist is scheduled to give a talk this Saturday, September 19th at 1pm. Both the exhibition and the talk are free and open to the public.
You can also read Jane Durrell's review of this exhibition here.
Saturday, September 12, 2009
We Don't Have to Wait Until February
For years art exhibitions focusing on African-American found a home on the gallery schedule in February, African-American History Month. Appropriately, programing recognizing the culture fills the month's calendar of events. While happy to welcome such recognition, I'm probably not the only one who has looked forward to a time when exhibitions of works by Romare Beardon could be viewed anytime throughout the year. Well, the Taft Museum of Art has challenged the exhibition schedule with The Chemistry of Color currently on view.
This really is such a beautiful show including some of my favorite artists. Along with Beardon you can see Faith Ringgold, Jacob Lawrence, and Betye Saar. The show also presents objects from the late 20th century. All of the works not only present well-known elements of African-American history, but also a wide spectrum of artistic influences from Latin-America, Asia, Africa, Europe and those of fellow Americans. Equally vibrant are the various artistic genres and media. You will find, references to music, dance, and architecture in oils, collage, textiles, and sculpture.
The Chemistry of Color is on view now through November 1, 2009. Be sure to visit as you may not get another chance to see such works until February 2010.
This really is such a beautiful show including some of my favorite artists. Along with Beardon you can see Faith Ringgold, Jacob Lawrence, and Betye Saar. The show also presents objects from the late 20th century. All of the works not only present well-known elements of African-American history, but also a wide spectrum of artistic influences from Latin-America, Asia, Africa, Europe and those of fellow Americans. Equally vibrant are the various artistic genres and media. You will find, references to music, dance, and architecture in oils, collage, textiles, and sculpture.
The Chemistry of Color is on view now through November 1, 2009. Be sure to visit as you may not get another chance to see such works until February 2010.
Wednesday, September 9, 2009
Taft Museum names Director
Cincinnati.com is reporting that Deborah Emont Scott has been named director and chief executive officer at the Taft Museum of Art. She will join the museum Nov. 9. Most recently she served as chief curator at the Nelson-Atkins Museum of Art in Kansas City, Mo. Scott is the sixth director since the Taft was founded in 1932.
Marc F. Wilson, the Menefee D. and Mary Louise Blackwell Director/CEO of the Nelson-Atkins Museum of Art, said, "She has faith in the power of art and in the accessibility to all of enriching, enjoyable experiences with works of art."
A native of Passaic, N.J., Scott is a graduate of Livingston College of Rutgers University. She earned a master's degree in history of art at Ohio's Oberlin College.
_____________
With my BA in art history from the University of Kansas, I've spent much time at the Nelson-Atkins. Also, I'm originally from Lorain, OH, up the street from Oberlin. So I hope path-crossing in Cincinnati will result in our meeting each other sometime soon.
Welcome back to Ohio and into my neighborhood....again.
Marc F. Wilson, the Menefee D. and Mary Louise Blackwell Director/CEO of the Nelson-Atkins Museum of Art, said, "She has faith in the power of art and in the accessibility to all of enriching, enjoyable experiences with works of art."
A native of Passaic, N.J., Scott is a graduate of Livingston College of Rutgers University. She earned a master's degree in history of art at Ohio's Oberlin College.
_____________
With my BA in art history from the University of Kansas, I've spent much time at the Nelson-Atkins. Also, I'm originally from Lorain, OH, up the street from Oberlin. So I hope path-crossing in Cincinnati will result in our meeting each other sometime soon.
Welcome back to Ohio and into my neighborhood....again.
Friday, September 4, 2009
Artistic Pride: My Visit to the Rookwood Factory
No one denies the vibrancy of the art community in Cincinnati. In fact, so much art happens here that there is a risk that some of the best places for seeing art are overlooked or at least postponed for the next time. To be sure, the Taft Museum of Art and equally impressive Cincinnati Art Museum with its Cincinnati Wing are sure to proudly and beautifully present our cultural history. I will fault no one who invites out of town guests to visit one of these gems over any of our other art institutions ( admittedly, I may do the same this holiday weekend), but as Greater Cincinnati residents and art lovers we are called on to explore many of the other art spaces as well.
The Rookwood Factory on Race Street is one of those places that is a must see. While I've enjoyed sharing the story as depicted at the Cincinnati Art Museum of this wonderful tradition begun by Maria Longsworth in the 1880s, my visit to the factory this week instilled in me I think for the first time a spark of civic art historical pride. To see not only the beautiful tiles, some of which have not yet been released to the public, but to witness the Rookwood artists at work was as breathtaking as glazes. There is no bustling we may associate with factory work, but instead an almost peaceful, contemplative and certainly creative aura in the space. Without a doubt this is due to the fact that Rookwood Pottery is not mass-produced but hand-made and painted. Though I also think the presence of this sensation in this factory is because these artists know instinctively what I came to recognize during my visit: that they are part of this long artistic tradition that is world-renowned and is our pride.
Maria Longworth's belief that "the key to creating fine art was to create an environment filled with talent, ideas and inspiration" is a founding principle behind the Rookwood Pottery , and has also become the bedrock of the aspirations of the many artists, galleries, and studios in Greater Cincinnati and Northern Kentucky.
The Rookwood Factory on Race Street is one of those places that is a must see. While I've enjoyed sharing the story as depicted at the Cincinnati Art Museum of this wonderful tradition begun by Maria Longsworth in the 1880s, my visit to the factory this week instilled in me I think for the first time a spark of civic art historical pride. To see not only the beautiful tiles, some of which have not yet been released to the public, but to witness the Rookwood artists at work was as breathtaking as glazes. There is no bustling we may associate with factory work, but instead an almost peaceful, contemplative and certainly creative aura in the space. Without a doubt this is due to the fact that Rookwood Pottery is not mass-produced but hand-made and painted. Though I also think the presence of this sensation in this factory is because these artists know instinctively what I came to recognize during my visit: that they are part of this long artistic tradition that is world-renowned and is our pride.
Maria Longworth's belief that "the key to creating fine art was to create an environment filled with talent, ideas and inspiration" is a founding principle behind the Rookwood Pottery , and has also become the bedrock of the aspirations of the many artists, galleries, and studios in Greater Cincinnati and Northern Kentucky.
Monday, August 31, 2009
CMA Asks to Dip into Endowment for Construction
The Plain Dealer has reported that The Cleveland Museum of Art wants to fill a gap in funding for its $350 million expansion and renovation by dipping into one of the deepest pockets in town -- its own.
On Tuesday, the museum petitioned Cuyahoga County Probate Court for permission to tap up to $75 million in income over 10 years from two funds in its endowment and two outside trusts normally restricted to the purchase of art.
The money could help the museum finish construction by 2013 and help with financing that could stretch beyond the completion date.
The Plain Dealer goes on to explain:
The museum's request means getting the court to grant approval to "deviate" temporarily from the wills of wealthy donors who stipulated that their endowment bequests and trusts could be used only to buy art. (my italics).
You can read the complete story on cleveland.com
On Tuesday, the museum petitioned Cuyahoga County Probate Court for permission to tap up to $75 million in income over 10 years from two funds in its endowment and two outside trusts normally restricted to the purchase of art.
The money could help the museum finish construction by 2013 and help with financing that could stretch beyond the completion date.
The Plain Dealer goes on to explain:
The museum's request means getting the court to grant approval to "deviate" temporarily from the wills of wealthy donors who stipulated that their endowment bequests and trusts could be used only to buy art. (my italics).
You can read the complete story on cleveland.com
Friday, August 28, 2009
Toledo Museum of Art Board Names Rod Bigelow as Interim Executive Director; Carolyn Putney to Serve as Deputy Director
Toledo Museum of Art Board Chair Betsy Brady announced today that Rod Bigelow,
TMA’s chief operating officer since February 2008, would serve as interim executive director of the Museum while a national search is conducted. Carolyn Putney, director of collections and curator of Asian art, was named interim deputy director. Both appointments are effective Oct. 1.
Don Bacigalupi, TMA president, director and CEO since 2003 announced last week that he has accepted the directorship of the Crystal Bridges Museum of American Art in Bentonville, Ark.
“The Board has full confidence in the leadership team of the Museum to move forward and continue to connect with the community in meaningful ways during this transition,” Brady said.
Bigelow holds a master of business administration degree from Pacific Lutheran University in Tacoma, Wash., and has more than 14 years experience in financial and executive management, most recently as the director of administrative and financial services at The Art Institute of Seattle and previously as chief financial officer at the Tacoma Art Museum. While in Tacoma he served as interim executive director while that institution searched for a new director.
Bigelow currently oversees several areas of the Museum’s operations, including finance, human resources, information technology, facilities, maintenance and protective services.
Putney has been with the Toledo Museum of Art in various capacities for 31 years. She holds an undergraduate degree in art history from Florida State University and completed graduate work in Asian art at the same institution. She has taught at the University of Toledo since 1979. Her duties include budgeting and oversight of all aspects of the curatorial department including exhibitions, conservation, registrars, archives, research and publications, the library and the Visual Resources Collection.
TMA's news releases can be found here.
TMA’s chief operating officer since February 2008, would serve as interim executive director of the Museum while a national search is conducted. Carolyn Putney, director of collections and curator of Asian art, was named interim deputy director. Both appointments are effective Oct. 1.
Don Bacigalupi, TMA president, director and CEO since 2003 announced last week that he has accepted the directorship of the Crystal Bridges Museum of American Art in Bentonville, Ark.
“The Board has full confidence in the leadership team of the Museum to move forward and continue to connect with the community in meaningful ways during this transition,” Brady said.
Bigelow holds a master of business administration degree from Pacific Lutheran University in Tacoma, Wash., and has more than 14 years experience in financial and executive management, most recently as the director of administrative and financial services at The Art Institute of Seattle and previously as chief financial officer at the Tacoma Art Museum. While in Tacoma he served as interim executive director while that institution searched for a new director.
Bigelow currently oversees several areas of the Museum’s operations, including finance, human resources, information technology, facilities, maintenance and protective services.
Putney has been with the Toledo Museum of Art in various capacities for 31 years. She holds an undergraduate degree in art history from Florida State University and completed graduate work in Asian art at the same institution. She has taught at the University of Toledo since 1979. Her duties include budgeting and oversight of all aspects of the curatorial department including exhibitions, conservation, registrars, archives, research and publications, the library and the Visual Resources Collection.
TMA's news releases can be found here.
Monday, August 24, 2009
New Blog Feature: An Exhibition Calendar
The design of this blog has always rested on one principle: to function as a resource for regional art organization, artists, and of course patrons. Resources I would find useful include the banner, to which I return almost daily. This banner includes links of galleries and museums in and around Cincinnati and I work to update it as I hear of others.
Another resource I've always wanted is a consolidated calendar of exhibitions. This was pretty tedious to put together and I realize for it to be useful to all of us, I need to be sure to manage it in a timely manner. This calendar includes only exhibitions and their descriptions as pulled from the respective websites. For any additional programming (talks, tours, classes, etc) , you will have to go directly to the gallery or museum website. The exhibitions are consolidated from those institutions appearing on the banner above.
If you think there is another gallery or museum I should include, please let me know. Keep in mind however that while I may periodically blog about shows in private galleries, I choose not to link to private arts organizations on my banner.
I do hope you find the calendar a helpful resource as well. Browse around. The new art season includes some very interesting exhibitions you will want to include on your own calendar.
Another resource I've always wanted is a consolidated calendar of exhibitions. This was pretty tedious to put together and I realize for it to be useful to all of us, I need to be sure to manage it in a timely manner. This calendar includes only exhibitions and their descriptions as pulled from the respective websites. For any additional programming (talks, tours, classes, etc) , you will have to go directly to the gallery or museum website. The exhibitions are consolidated from those institutions appearing on the banner above.
If you think there is another gallery or museum I should include, please let me know. Keep in mind however that while I may periodically blog about shows in private galleries, I choose not to link to private arts organizations on my banner.
I do hope you find the calendar a helpful resource as well. Browse around. The new art season includes some very interesting exhibitions you will want to include on your own calendar.
2010 Governor’s Awards for the Arts in Ohio Online Nominations Open
The Ohio Arts Council is now accepting nominations for the 2010 Governor’s Awards for the Arts in Ohio. The annual awards are given to Ohio individuals and organizations in recognition of outstanding contributions to the arts statewide, regionally and nationally. Awards are given for Arts Administration, Arts Education, Arts Patron, Business Support of the Arts, Community Development and Participation and Individual Artist. The deadline for nominations is Wednesday, September 23, 2009 at 5 p.m. and the deadline for support letters is Wednesday, September 30, 2009 at 5 p.m.
Nominations will be accepted only online. A complete explanation of the nomination process is available on the 2010 Governor’s Awards for the Arts in Ohio and Arts Day Luncheon Web site at www.oac.state.oh.us. For more information about the Governor’s Awards nomination process contact Jaclyn Reynolds at the Ohio Arts Council; phone 614/995-4125; e-mail jaclyn.reynolds@oac.state.oh.us.
Nominations will be accepted only online. A complete explanation of the nomination process is available on the 2010 Governor’s Awards for the Arts in Ohio and Arts Day Luncheon Web site at www.oac.state.oh.us. For more information about the Governor’s Awards nomination process contact Jaclyn Reynolds at the Ohio Arts Council; phone 614/995-4125; e-mail jaclyn.reynolds@oac.state.oh.us.
Saturday, August 22, 2009
Contemporary Art for Parents
Today's NY Times includes a complaint by a parent after bringing his 7 year old twins to P.S.1 to see contemporary art and was met with a piece I agree is not appropriate for children. The writer's complaint was not about the inclusion of the artwork in this gallery, but the parent was upset to find the wall label warning of graphic content was much too small to notice. As a parent, I certainly understand the uncomfortable nature of this situation. Yet, parents are generally hardwired to avoid such situations because it is in our nature to protect our children or at least protect ourselves from embarrassment. If P.S 1 truly is one of Fred Bernstein's favorite places to see contemporary art, heck, if visiting contemporary art galleries is one of his favorite past times, he should have known prior to bringing his two boys to the gallery not only what to expect, but exactly what was showing in this particular exhibition.
As a parent and an arts advocate in Cincinnati, I've found myself pulled in opposing directions especially in regards to the Contemporary Art Center. Aware of its historical place in art censorship, I look forward to challenges any exhibition may present and encourage friends to visit regularly. Though as a parent of young children, many social circles in which I find myself result in planning parent/child play dates that include the Cincinnati Zoo, The Museum Center, or simply one of the city parks. The pull comes when a parent asks me what I think about taking their kids to the Contemporary Art Center. I have no problem encouraging these parents to take their children to the CAC UnMuseum where some of the best and most fun children's art education events take place. But I quickly warn them to simply take the elevator directly up to the sixth floor, by-passing all exhibition spaces for fear my friend will see something they do not want their children to see. This directing people away from art galleries goes against everything I am...even a parent of a 5 and 11 yr old.
To try correct this internal conflict, I encourage parents to visit the CAC exhibitions to preview the shows before attending with their children. But to parents whose schedule, both work and play, revolve around their children, this is a tough sell. The CAC perhaps like all contemporary art museums would be thrilled to have every parent visit at least once, two visits per exhibition is just unimaginable. Further, if the one visit means heading straight to the UnMuseum (an interesting problem for further contemplation), the CAC is pleased to oblige.
Still this does not solve my internal conflicted guilt over possibly contributing to the censorship of the CAC and yet working to be a powerful advocate for the local arts. As our children return to school, I invite any parent who would like to join me or their friends to visit the exhibitions at the CAC this year for an adult-only preview. You may find that you would like to share the exhibition with your own children during a second visit.
As a parent and an arts advocate in Cincinnati, I've found myself pulled in opposing directions especially in regards to the Contemporary Art Center. Aware of its historical place in art censorship, I look forward to challenges any exhibition may present and encourage friends to visit regularly. Though as a parent of young children, many social circles in which I find myself result in planning parent/child play dates that include the Cincinnati Zoo, The Museum Center, or simply one of the city parks. The pull comes when a parent asks me what I think about taking their kids to the Contemporary Art Center. I have no problem encouraging these parents to take their children to the CAC UnMuseum where some of the best and most fun children's art education events take place. But I quickly warn them to simply take the elevator directly up to the sixth floor, by-passing all exhibition spaces for fear my friend will see something they do not want their children to see. This directing people away from art galleries goes against everything I am...even a parent of a 5 and 11 yr old.
To try correct this internal conflict, I encourage parents to visit the CAC exhibitions to preview the shows before attending with their children. But to parents whose schedule, both work and play, revolve around their children, this is a tough sell. The CAC perhaps like all contemporary art museums would be thrilled to have every parent visit at least once, two visits per exhibition is just unimaginable. Further, if the one visit means heading straight to the UnMuseum (an interesting problem for further contemplation), the CAC is pleased to oblige.
Still this does not solve my internal conflicted guilt over possibly contributing to the censorship of the CAC and yet working to be a powerful advocate for the local arts. As our children return to school, I invite any parent who would like to join me or their friends to visit the exhibitions at the CAC this year for an adult-only preview. You may find that you would like to share the exhibition with your own children during a second visit.
Friday, August 21, 2009
Tara Donovan to Exhibit at Neighboring IMA
With the overwhelming awe of Tara Donovan's recent exhibition at the Contemporary Art Center, local art lovers will be excited to learn she will return to the Midwest with an exhibition at nearby Indianapolis Museum of Art. This exhibition will present both drawings and sculptures by the American artist. And the best part, the IMA will offer free admission to the exhibition.
Tara Donovan: Untitled will open at the IMA April 4, 2010 and be on view through August 1, 2010
Tara Donovan: Untitled will open at the IMA April 4, 2010 and be on view through August 1, 2010
Wednesday, August 19, 2009
Toledo Museum of Art Director Don Bacigalupi Leaves for Crystal Bridges
The Toledo Blade reported that Don Bacigalupi, director, president, and chief executive officer of the Toledo Museum of Art since 2003, will leave Toledo in October to lead a new museum being built in Arkansas by Alice Walton, the youngest child of the founder of Wal-Mart Stores Inc.
A few years away from opening, Crystal Bridges Museum of American Art is being built on the edge of and over a natural spring on 100 wooded acres a quarter mile from downtown Bentonville, in northwest Arkansas.
Time's Art and Architectural Critic, Richard LaLacayo recently spoke with Bacigalupi about his move.
A few years away from opening, Crystal Bridges Museum of American Art is being built on the edge of and over a natural spring on 100 wooded acres a quarter mile from downtown Bentonville, in northwest Arkansas.
Time's Art and Architectural Critic, Richard LaLacayo recently spoke with Bacigalupi about his move.
Friday, August 14, 2009
Should Greater Cincinnati Art Organizations Better Strive for Diverse Hiring?
Bay Area curator, Anuradha Vikram presents a discussion about the hiring and management of art organizations. She offers links to a few different articles that explore a lack of diverse hiring practices in the arts and its effect on funding. This is not a debate about race, but about the role of art organizations to serve their communities. If administrative hiring does not reflect the diversity of their regions, attracting patrons of the community in which the organizations reside results in an otherwise unnecessary battle for funds and ultimately isolation.
As Vikram shows, one way to address this isolation is a proposal to abandon degree certifications like those of Art History and Museum Studies as hiring criteria. The argument suggests these degree programs are not diverse enough to be part of a hiring pool. As an art historian (of Latino decent), I strongly disagree. I'm part a a very large pool of ethnically diverse art historians. Vikram too disagrees though presents a much more nuanced argument that seems to focus more on the defined roles of these institutions in their communities rather than their administrators.
How can Cincinnati, with its large number and variety of art organizations, apply this debate for increased patronage. Will understanding the role each plays in the community result in more diverse hiring practices thus less isolation? Further, do local arts funding practices discourage defining these roles and does this make our own arts organizations inferior in their competition for state or national grants?
As Vikram shows, one way to address this isolation is a proposal to abandon degree certifications like those of Art History and Museum Studies as hiring criteria. The argument suggests these degree programs are not diverse enough to be part of a hiring pool. As an art historian (of Latino decent), I strongly disagree. I'm part a a very large pool of ethnically diverse art historians. Vikram too disagrees though presents a much more nuanced argument that seems to focus more on the defined roles of these institutions in their communities rather than their administrators.
How can Cincinnati, with its large number and variety of art organizations, apply this debate for increased patronage. Will understanding the role each plays in the community result in more diverse hiring practices thus less isolation? Further, do local arts funding practices discourage defining these roles and does this make our own arts organizations inferior in their competition for state or national grants?
Tuesday, August 11, 2009
Greater Cincinnati Exhibition Opportunities
The Weston Art Gallery has put together the Greater Cincinnati Exhibition Opportunities Guide 2009 –an encyclopedia of venues and contact information for artists seeking a first show or continuing an established exhibition record. With nearly 200 listings, the Guide is not only a directory of places to show work locally and regionally, it's also the source for Cincinnati's vibrant arts scene. So don't miss out on your opportunities–get to it and participate!
While this comprehensive listing galleries is described as a resource for Cincinnati-area artists, a number of the galleries listed exhibit works from all over the world.
Access or download the complete guide here.
While this comprehensive listing galleries is described as a resource for Cincinnati-area artists, a number of the galleries listed exhibit works from all over the world.
Access or download the complete guide here.
Monday, August 10, 2009
The Art Academy Opens Academic Year with Big Changes, Questions.
The Art Academy of Cincinnati last week announced the departures of two top leaders, President Gregory Allgire Smith and Academic Dean Keith Kutch. While Kutch left on his own accord to accept a position at Stevenson University outside of Baltimore, the circumstances surrounding Smith’s departure are still unclear.
You can find the story at City Beat.
You can find the story at City Beat.
Monday, August 3, 2009
Can We Make Art Museums More Like Home?
As art museums continue to work towards engaging their community and growing their patronage, we see a number of innovative programs develop. Many of the events often involve creating a temporary space for entertainment as a way to welcome new visitors.
A letter in the Daily Dayton News in response to the 90th anniversary of the Dayton Art Institute recalls in 1943 when a banner hung across the front of the building read, "Dayton's Living Room."
A rather simple idea that not only engages the surrounding community, but evokes the comfort of permanency and most important it makes the museum inviting.
It is so easy to envision The Cincinnati Wing of the CAM and the Taft Museum of Art adopting similar invitations to come in and relax.
A letter in the Daily Dayton News in response to the 90th anniversary of the Dayton Art Institute recalls in 1943 when a banner hung across the front of the building read, "Dayton's Living Room."
A rather simple idea that not only engages the surrounding community, but evokes the comfort of permanency and most important it makes the museum inviting.
It is so easy to envision The Cincinnati Wing of the CAM and the Taft Museum of Art adopting similar invitations to come in and relax.
Saturday, August 1, 2009
Review of Emil Robinson's "Axis Mundi"
Friday, July 31, 2009
Call to Artists: Manifest Gallery Readies for 6th Season with Monochrome
Sometimes you can say more by saying less. Many artists find that the intentional reduction of visual information actually increases a work of art’s impact. One such reduction is the use of color, creating engaging art through the use of a single hue. Manifest Creative Research Gallery and Drawing Center is proud to announce the start of its 6th season with the exhibit Monochrome.
Deadline is August 28, 2009
See here for eligibility and information.
Deadline is August 28, 2009
See here for eligibility and information.
Wednesday, July 22, 2009
CAC Recieves Three Major Grants
Cincinnati's Contemporary Art Center has announced that it has been awarded three separate grants originating from a family foundation, a community foundation and a Federal agency, totaling over $100,000. The Carol Ann and Ralph V. Haile, Jr./U.S. Bank Foundation, The Greater Cincinnati Foundation and the National Endowment for the Arts all have revealed recently their awards to the Contemporary Arts Center . Funding will be used for operating and community engagement support, and to provide jobs.
See the good news here.
See the good news here.
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