September 15th, 2012 | by Amanda Dalla Villa Adams | published in Digest, September 2012
Pairing the work of Judith Godwin and Arlene Shechet seems odd. But that’s just what Virginia Commonwealth University School of the Arts has done in Judith Godwin: Early Abstractions and Arlene Shechet: That Time at the Anderson Gallery in Richmond, Virginia. The two rooms on the first floor feature Shechet’s work while Godwin garners the […]
September 15th, 2012 | by Maxwell Redder | published in Digest, September 2012
Editor’s note: Aeqai welcomes Maxwell Redder to its stable of writers and critics. Redder, a recent DAAP graduate, is an outstanding poet, and since art and poetry often intertwine, we are introducing Maxwell’s Poetry Corner as a regular aeqai feature. For awhile, all the poems will be Redder’s. The Sound The sound […]
May 17th, 2012 | by Margot Gotoff | published in Digest, May 2012
When I was first approached about writing this appreciation of a piece at the Cincinnati Art Museum, I was absolutely confident in my choice. As many times as I had entered through those majestic doors, I knew where I was first drawn. No matter what new exhibit had just opened, I had to make my […]
March 18th, 2012 | by Marlene Steele | published in Digest, March 2012
Helen Frankenthaler 1928-2011 A phone call from a long time friend of mine alerted me to the passing of this reknowned woman whose approach to painting contributed to and influenced the gestural abstract movement of the 50′ s and 60’s. “I never usually read the obits in the New York Times” Marilyn began,” but I […]
February 18th, 2012 | by Robert Anderson | published in Digest, February 2012
When asked to discuss a significant piece of art that is part of the Cincinnati Art Museum’s permanent collection, the piece that immediately came to mind was a medium-sized painting by Edward Hopper. I first came into contact with the piece about a decade ago. I was still in college and had to create a […]
January 23rd, 2012 | by Sheldon Tapley | published in *, Digest, January 2012
Flesh. It gleams and swells in Samson and Delilah, giving us the whole story before we can recall the details. It shows us her allure and his weakness. It gives life to this picture, but it is made from paint brushed across a wooden panel. In Rubens’ hands, paint and flesh transform a morality tale […]
January 23rd, 2012 | by Daniel Brown | published in Digest, January 2012
Editor’s Note: The following is reprinted from the October 2011 issue of The Artist’s Magazine. Stacie Seuberling’s landscapes may seem like sets for Romantic ballets; the movement of trees equates to the movement of bodies in space; the lines convey form against curtains of color. Smaller in scale than a stage set, however, their magic […]
December 15th, 2011 | by Brad McCombs | published in December 2011, Digest
I am sure those who frequent the Cincinnati Art Museum have specific artworks or galleries they look forward to visiting. For me visiting these artworks induces a hyper-awareness of the space, forms and color that surround me and provide a sensation like no other. Several places at CAM hold this distinction for me. One of […]
November 15th, 2011 | by Emil Robinson | published in Digest, November 2011
When asked to write about a favorite painting at the art museum, I saw it as an invitation to reestablish my emotional connection to the art I see. Recently, I find it hard to have a gut reaction to works that I spend time in front of. This is especially true if I sense that […]
October 15th, 2011 | by Dan Newman | published in *, Digest, October 2011
Despite having a PhD in Philosophy and Dr. of Divinity Degree I know very little art history. As a self taught artist, from an early age, I have had creative abilities in drawing and woodworking. I draw in pencil or charcoal. I learned tools and skills from my mother. I was, therefore, immediately drawn to […]
September 15th, 2011 | by Kim Krause | published in Digest, September 2011
“One morning, my wife, after the rain, pointed out a spider that was making a marvelous web, so I started doing a number of web pictures with my wife and myself, and a lot of paraphernalia caught in the web. . . . It’s a terrible corny idea, but what can you do? It led […]
July 25th, 2011 | by Maureen Bloomfield | published in *, Digest, Summer 2011
Editor’s Note: What follows is the second in Aeqai’s series, where we ask artists in Greater Cincinnati to select one work of art in the permanent collection of either CAM or the Taft Museum, and tell our readers why it is important to him or her. Maureen Bloomfield is Editor of The Artist’s Magazine, as […]
July 25th, 2011 | by Jane Durrell | published in Digest
Tucked in the multi-page announcement of the Cincinnati Art Museum’s 2011-12 exhibition schedule is a portent of change beyond the new season. Re-installation of the Schmidlapp Gallery will be “the first step in the vision for a re-designed Cincinnati Art Museum.” To find out what’s going on, in the Schmidlapp gallery now and the rest […]
June 15th, 2011 | by The Editor | published in Digest, June 2011
Æqai is asking a variety of area artists to select one work of art from the permanent collection of either the Cincinnati Art Museum or the Taft Museum of Art, and tell our readers why it is important to him or her. Cole Carothers, […]
June 15th, 2011 | by A.C. Frabetti | published in *, Digest, June 2011
U-turn’s organizers reflect upon their “medicine for misanthropy.” (The following interview took place Sunday, June 14, 2011 in U-turn’s gallery in Brighton. Attending were the five organizers of U-turn, in alphabetical order: Molly Donnermeyer, Matt Morris, Patricia Murphy, Zach Rawe and Eric Ruschman. All are graduates of the Art Academy of Cincinnati. For the sake […]
May 15th, 2011 | by Jane Durrell | published in Digest
Jane Durrell comments on Creating the New Century. Now that we’re a decade deep into the new millennium, the impulse to slap “New Century” on just about anything out there is hard to resist. Meanwhile, a lot of what’s going on has 20th century roots. Case in point is Creating the New Century: Contemporary Art […]
May 15th, 2011 | by Tina Tammaro | published in Digest
An Appreciation. Is he a misogynist or is he not? That is the question most art critics and historians quickly come to when discussing Willem de Kooning and his 1950’s Women Series. Let’s consider: It’s the middle of the 20th Century and painting is so alive and kicking! Who is the artist that dominates that world? […]
April 18th, 2011 | by Daniel Brown | published in Digest
The Artists of “Narrative Figuration” discuss their work. Editor’s Note: Because Daniel Brown is both Editor of Aeqai and the guest curator for the exhibition “Narrative Figuration” at The Weston Gallery in the Aronoff Center, it is Aeqai’s policy that our reviewers not review his shows. Therefore, we have asked the five artists in the […]
February 15th, 2011 | by Maria Seda-Reeder | published in Digest, Features
Cincinnati Against the World On a Wednesday evening, in a room above the raucous crowd assembled for Mayday Bar in Northside’s Bingo night, five artists of various ilk (visual artists Britni Bicknaver & Paul Coors, photographer-designer-street artist Floyd Johnson, designer-entrepreneur Rosie Kovacs, and poet Dana Ward) gathered to discuss an issue that has effected them […]
December 15th, 2010 | by Daniel Brown | published in Digest, On View
At The Weston Gallery Todd Reynolds’ oils’ and watercolors’ most salient contemporary features depict an America in which chronic violence is implied, hope is in abeyance. His quasi-narrative, usually large scale paintings rip the niceties and pieties off of middle class life, portraying, instead, a near-Surreal world of low-life characters, drug-induced or -inspired people in […]
November 15th, 2010 | by Karen Chambers | published in Digest
A Look Back Although Cincinnati can’t truly be considered a hot bed of glass art activity, another Ohio city—Toledo—played a seminal role in the development of what is known as the Studio Glass Movement. Studio glass describes glasswork created by an artist working directly with the material, often alone, and with the intent of making […]
