This exhibit opens February 11, 2017 at the Cincinnati Art Museum:
The Cincinnati Art Museum’s Howard and Caroline Porter Collection is the largest repository of the woodcuts of Kosaka Gajin outside the family in Tokyo, Japan. This exhibition celebrates his prints capturing the beauty of Japan’s landscape and architectural monuments in a way that is totally modern in its individualized expression, not unlike the era’s action painting in the West. This exhibition of his later woodcuts will be the first solo exhibition of the artist’s work in the United States.
Ticketed – free for members.
Don't forget to put these shows on your calendar:
Experience life in the 1950s by putting your feet up on the couch, playing a record, peeking in drawers and rolling in the grass in a full-size prefabricated Lustron home built inside the museum at the Ohio History Center.
Ai Weiwei’s Circle of Animals/Zodiac Heads is comprised of twelve animals derived from the Chinese astrological calendar of years, weeks, and hours. The design of these heads was inspired by a specific source: an elaborate fountain created in the 1700s for the gardens of Yuanming Yuan, an imperial retreat outside of Beijing, China. The Qianlong Emperor commissioned Giuseppe Castiglione, an Italian Jesuit, to create gardens and fountains with a sense of Western opulence. Each zodiac animal corresponds to a two-hour period on a 24-hour cycle. Thus in its original design, each animal sprayed water from its mouth during its corresponding two-hour period.
See an extraordinary exhibit of Korean War photographs taken by Pulitzer Prize-winning Associated Press photographer Max Desfor. Desfor spent three turbulent years in Korea from 1950–1953, where he captured the people’s plight and the American soldiers’ defense. The exhibit features 36 photographs printed from original material culled from Desfor’s personal collection and his 1950 winning submission to the Pulitzer Prize Committee.
This comprehensive exhibition features highlights from the Speed’s American Indian collection, along with paintings, drawings and photographs by Louisville artist and ethnographer Frederick Weygold. Although Weygold’s work as an illustrator, photographer and collector of Native American art is highly regarded in Europe, he remains virtually unknown in the U.S. This exhibition offers for the first time a thorough account of this remarkable man and his achievements.
Experience a myth-busting exhibition that has captivated millions of people around the world, as the largest collection of Viking artifacts to visit North America comes to Cincinnati.
“The show presents her as an artist of formidable discipline, consistency and clarity of purpose, and a key player in any history of postwar art.”—New York Times
"Sorting all this out is immensely pleasurable, and happily there is no resolution."—Roberta Smith, The New York Times, on Oppenheimer's D-33
Andrea Bowers is an Ohio-born, Los Angeles-based artist who works at the provocative, often disruptive intersection of art-making, social justice and political activism. Raised in Wilmington, Ohio in what she calls, "an apolitical Republican family," Bowers looks to (and participates in) civil disobedience as a lens to explore contemporary causes including women’s, gay & trans rights,
Noel Anderson is a Louisville, KY-born artist and a professor at the University of Cincinnati, presently working in New York City. He is known for complex investigations into the evolving make-up of black male identity translated through a variety of textiles – from old rugs to digitally produced tapestries.
Artist, independent curator, and educator C. M. Turner (Cincinnati, OH) curates contemporary sculpture and installation works exploring archive, artifice, and networked-connection in The Wired. Featuring collaborative works by Future Retrieval (Katie Parker and Guy Michael Davis) and Jordan Tate; Justin Hodges and Casey James Wilson; and Caroline Turner and Ian Anderson (all Cincinnati, OH, except Justin Hodges of Americus, GA); The Wired presents physical manifestations of digital content that break down the perceived boundary between the corporeal world and the Internet. Each piece contains a kinetic facet—from circulating water, to video, to virtual reality, underscoring the movement of images, objects, and information humans seek to balance in daily, mediated existence.