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Screening the Modernist Ruin: a review of a selection of films at Mini...
The third installment of the Mini Microcinema’s series on urbanism and the city co-sponsored by the UC Center for Film and Media Studies and School of Planning, took place on November 9. The selection...
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Two Shows at Wave Pool: “Everything Is Nothing with a Twist” and “Domus Candela”
December 3rd marked the opening of two new exhibitions at Wave Pool: the group show Everything Is Nothing with a Twist on the ground floor and a solo installation Domus Candela by Erin Taylor upstairs....
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Report from New York: Walking between Dreams in Three Immersive Cinematic...
This winter, three major New York institutions hosted exhibitions of immersive, moving image installations. In many ways the works featured in these shows were direct descendants of “expanded cinema,”...
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Short Circuits and Exposed Networks: The Wired at Weston Gallery
Artworks today enter digital markets of circulation. Even the seemingly dematerialized, non-commodifiable works of land art and conceptual art are subject to economies of reproduction and intellectual...
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Sleeping Clowns, Screaming Color, and Transcendent Stairwells: Ugo Rondinone...
Photo by Annie Dell’Aria Ugo Rondinone, born and based in Switzerland, is known for sculptures and installations with alternately an absence or an overabundance of color. Referred to by the artist...
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Report from the 2017 Contemporary Art Grand Tour: Venice, Münster, Kassel
Summer 2017 may very well be one of the most important art seasons in recent memory. In the wake of political turmoil and the record sale of a Basquiat for $110.5 million at auction, the art fairs of...
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A Tale of Two Art Festivals: the Duality of ArtPrize Nine
Art fairs, biennials, and public art festivals, on the rise since the 1990s, define much of the post-1989 international art world. From Venice to New Orleans to Gwangju and everywhere in between, urban...
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Ragnar Kjartansson’s “The Visitors” (2012) at Cincinnati Art Museum
Contemporary art has a number of interpretive frameworks, attempts to historicize the present moment that both distinguish it from what came before and draw genealogical lines from established art...
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Performing Masks: Gillian Wearing at Cincinnati Art Museum
Gillian Wearing (b. 1963), Britain, Me as Dürer, 2018, chromogenic print. © Gillian Wearing. Courtesy of the artist, Tanya Bonakdar Gallery, New York / Los Angeles, Maureen Paley, London, and Regen...
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Folded, Scratched, Discarded: Photographic Memory in the Work of Akram Zaatari
In our contemporary image-saturated, screen-based culture, the materiality of photographic prints and negatives seems part of a quaint memory of the artwork before the age of digital reproduction and...
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Rachel Rampleman at Weston Gallery
A shallow stage, dramatic floor to ceiling curtain of silver mylar, pink lights, and disco ball have recently transformed the ground floor of Weston Art Gallery. Alluding to the settings of...
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Aaron Kent: Exploring Loss & Creating New
Image courtesy Aaron Kent. Ceramic arts often conjure notions of utility or delicacy. In the museum, pottery fragments from ancient societies shed light on their domestic lives, and ornate porcelain...
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