News Archive - Art Academy of Cincinnati

Artist Q&A: Kyle Angel

Alex Tellez — Fri, 22 Nov 2024 20:08:02 +0000

Kyle Angel is constantly reimagining his identify through “fabulously zany ways,” according to his in his own words. To see that zaniness on display, look no further than Acrylics on CAMP—Angel’s latest exhibition currently on display in the McClure Gallery at the Art Academy.

Angel is currently an adjunct professor at both the Art Academy and the University of Cincinnati DAAP (College of Design, Architecture, Art, & Planning). Graduating in 2017 from the Art Academy, Angel has worked with textiles, fashion, video, sound, installation, illustration, and text. Through the art of drag and performance, he transforms himself into the playful and quirky persona of Crystal Tubes (she/her/they/them), which allows Angel to question and defy limitations around queerness and gender expression.

For Acrylics on CAMP, Angel fully embellished and bejeweled a collection of 58 pairs of gloves in response to Susan Sontag’s 1964 essay Notes on Camp. Angel writes: “Throughout her notes, she attempts to explain the unexplainable (“camp”) and reminds us not to always take everything so seriously. During a time when drag is constantly being met with fear and disdain, I look toward Sontag’s writing to remind myself of the artistry, expression, and playfulness that originally made me fall in love with drag!”

Read more about CAMP in this Q&A with Angel.

Tell us about pairing the famous “Notes on ‘Camp’” essay with your own sense of artistry. When did you first encounter the essay, and how does it complement your own work?

Ah, Notes on “Camp”—a piece that is as elusive as it is defining! I first encountered Sontag’s essay in grad school in 2018, and I’ve held it close by ever since. At the time, I was just beginning to explore my Drag persona, Crystal Tubes (she/her/they/them), and the possibilities of Drag existing as a part of my artistic practice and voice. Camp, in Sontag’s words, becomes this sparkling and complicated understanding of why we gravitate towards what some might call “too much” or “tasteless.” Existing with and creating through her essay in my studio felt like having a bunch of craft nights with your best friend who just instinctively gets you and encourages every single one of your nonsensical ideas. The list of characteristics also acted like a series of prompts for me as I went about creating each pair of gloves and its set of embellished acrylic nails.

I kept coming back to her list, marveling at how it echoed drag’s unapologetic embrace of the fabulous, the artificial, and the deeply layered. Through Crystal Tubes, I use camp to celebrate queerness, to challenge norms, and to interject a sense of joy into what can often feel like a rigid world. Notes on “Camp” is a mirror that reflects both the silliness and sincerity of that effort, and that’s what I hope to invite others to see in this exhibition.

This exhibition features 58 pairs of embellished gloves. Tell us about the materials you used to elevate the gloves beyond the ordinary. What was your process like?

Each pair of gloves in Acrylics on “CAMP” is its own mini experiment in extravagance! The materials range widely—mesh, leather, rubber, rhinestones, feathers, metal studs, faux fur, beads, and, of course, acrylic nails as the centerpiece. The acrylic nails consumed a good majority of my time… all 580 of them… as I used layers of gel polish and builder gel to bring each one to life. One set might embody Camp Vision on rubber-dipped work gloves with googly eyes, 301 eyelashes, glitter, and rhinestones, while another set, inspired by Excruciating, appear on physical therapy gloves with quilting pins shoved into the gums of resin teeth.

The process was wonderfully chaotic. The sight of my studio floor was practically nonexistent as I doused each glove in adhesive (a huge shoutout to E6000, Gorilla Super Glue Gel, and hot glue) and began throwing anything and everything at them. Every glove became a small character study, an attempt to embody that “too much” spirit Sontag described. The gloves evolved through layering, from everyday utilitarian instruments and simple vintage finds to lavish, absurd, and totally impractical artworks that look like they could only belong on the hands of a glamour-obsessed creature with a loose grip on reality.

In your opinion, what do we gain from embracing camp as spectators? What do we gain from embracing camp as participants?

When we embrace camp as spectators, we are giving ourselves permission to drop the everyday façade(s). We can laugh without feeling self-conscious, admire the artifice, and let go of our need to analyze everything so seriously. Camp allows us to celebrate passion, even if (especially if!) it is a bit misguided or ridiculous.

As participants, camp becomes something even more magical! We get to revel in our imaginations and creativity without boundaries. Camp as participation is a practice in embracing all parts of ourselves—the polished and the imperfect, the sincere and the ironic. In my art, and particularly in my expressions through Drag, camp becomes a tool for survival. It is a way to express queerness with pride, to turn vulnerability into strength, and to find resilience in fabulous defiance. Through camp, we get to live in a world where seriousness is dethroned, and joy becomes a statement of its own.

Is there anything else you’d like to share with us and the readers about your exhibition and your artistry in general?

Crystal Tubes—the persona and the artist—exists in a playful and utopic universe where contradictions collide. My work with Acrylics on “CAMP” is really an invitation for viewers to join me in that universe. It is a space where gloves are more than just fashionable garments; they are canvases for identity, symbols of queerness, and little imaginings of rebellion against the mundane. At the heart of it all, camp teaches us that the only thing more radical than standing out is standing out with joy, self-acceptance, and maybe a rhinestone or two… or a few hundred!

And to anyone reading: I hope you leave the exhibition with a renewed sense of worth to be gloriously yourself, however extravagant or subtle that may be.

Read more about CAMP. This exhibition is on view in the McClure Gallery until December 6^th, 2024.

Our galleries are free and open to the public, and no registration is needed. Check-in at the security desk is required. View all upcoming exhibitions for the rest of the season.

Gallery Hours:

Monday – Friday: 9 a.m. to 9 p.m.
Saturday – Sunday: 9 a.m. to 5 p.m.

Location:

Art Academy of Cincinnati College of Art & Design
1212 Jackson St., Cincinnati, OH 45202

Traveling via the Connector streetcar? We’re right around the corner from station 7 in Over-the-Rhine!

The post Artist Q&A: Kyle Angel appeared first on Art Academy of Cincinnati.

Assembling with Peers at the National Council of Arts Administrators Conference

Alex Tellez — Wed, 06 Nov 2024 17:06:57 +0000

Last September, AAC’s Director of the Office of Engagement and Adjunct Professor Linnea Fitterer presented two sessions at the National Council of Arts Administrators Conference (NCAAC). The annual gathering took place over four days at Interlochen Center for the Arts in Traverse City, Mich.

This year’s unifying theme was “ASSEMBLE: Embracing our Collective Network.” Workshops, presentations, meet-ups, and events all responded to that concept within the framework of arts administration. NCAA describes the theme as follows: “More than just a gathering, ASSEMBLE embodies the philosophy of assemblage, where people, things, and stories intertwine to spark innovation and drive change. As arts administrators, we are vital in creating these spaces.”

Says Linnea, “The 2024 conference theme allowed me to share the unique value of community and continuing education departments at institutions of higher education. Synergies between the topics discussed at the NCAA conference, our mission, and the environment of the Interlochen Center for the Arts campus in Northern Michigan, was a triangle of unity—broadening my understanding of the impacts and challenges of our work and the importance of engagement through assembling.”

Assembl(ag)e is the Answer

At AAC, Linnea teaches and explores social practice art and its application in our B.F.A. and M.A.A.E. programs. She also directs the Office of Engagement, which provides art educational programming for learners of all ages and artistic community engagement opportunities in the Greater Cincinnati region. At NCAAC, Linnea delivered a presentation called “Assembl(ag)e is the Answer.”

The presentation connected concepts of social practice art and the practice of assemblage through the lens of art historical movements. She defined social practice art as the opposite of a studio practice, one that relies on observation, conversation and participation; assemblage is the collection or gathering of people. By embracing the practices of both, Linnea presented, our fine art and fine art education institutions experience positive impact. Here’s an excerpt:

“Part of what we do in higher education that is never directly represented in our curriculum or listed in a syllabus is the responsibility of teaching our students how to be people—especially our traditional undergraduates. I don’t believe it is enough to solely instruct technique—because even in the process of doing just that, interventions of humanity arise.

Students look to us—as staff and faculty who have more expertise as working artists, writers, scholars, and humans—to show them how to behave in times of challenge. Even in their rejection of us, they observe, collect, and arrange our responses to their benefit. Not that we must be perfect, without mistake, or consequence, but we must own ourselves/our positions as part of the composition—and equally view our students in that manner.”

Linnea Fitterer

Ground Rules for Arts Administrators

Linnea also led a workshop called “Ground Rules for Arts Administrators.” A complete description of the workshop reads, “We will create instruction-based lists for successful leadership in the arts. We will assemble, discuss, and break down the outdated expectations, unspoken perceptions, and other myths of being a leader and begin to rebuild a unique, personal, and fulfilling list for an administrative methodology in line with your core values.”

Connecting administrative practices with the art form of Dadaism, Linnea guided participants through the process of creating statements of leadership principles. This process started with the creation of individual Dada poems, like the image above. Then, Linnea provided examples of different rules and standards that artists and arts administrators had enacted for themselves or their own institutions. Altogether, the process enabled participants to consider what ideas emerge from thinking critically about a collection of assembled ideas.

The Office of Engagement at AAC is defined by three pillars: community education, outreach and enrichment, and social impact. Linnea describes her experience with the NCAA conference as an organic alignment with the office’s mission to create and sustain environments of community learning: “By organizing programs and courses that open our institution’s doors to populations beyond those who are traditionally supported by a college of art and design, we assemble diverse and creative minds who use art for expression and advancement.”

You can read more about the Office of Engagement’s philosophy and practices here, or go directly to the programs that define each of the office’s three pillars:

Community Education: Art classes that serve the community—registration for Spring courses is now open!
Outreach and Enrichment: Arts programming for K-12 students
Social Impact: Community art projects to inspire change

Engage with the Office of Engagement on Facebook and Instagram.

The post Assembling with Peers at the National Council of Arts Administrators Conference appeared first on Art Academy of Cincinnati.

Artists Q&A: ‘Student Reflections’

Alex Tellez — Thu, 17 Oct 2024 18:11:45 +0000

For the 2024 FotoFocus Biennial: backstories, the Art Academy is presenting six gallery exhibitions that are open to the public to view and enjoy. One of those exhibitions, Student Reflections, features photography from 11 of our own B.F.A. students. The photos on view were selected from a juried open call by a panel of Art Academy faculty members. Collectively, they reflect the varied perspectives of college art students in the contemporary age.

Students Featured: Kamaire Jones, Joey McElroy, Chloe Meadows, Eva Morris, Ace Quan, Mea Richards, Mar Silvers, Isabella Slone, Aminata Thiam, Harper Thomson, Graziana Wojtylak

Acclaimed photographer and multidisciplinary artist Vikesh Kapoor served as a guest judge for Student Reflections, awarding first, second, and third place to exceptional entries. Kapoor is a featured artist in another exhibition for this year’s Biennial, Deeply Rooted, which is on view at the Art Academy in the Pearlman Gallery.

Below, a portion of the students featured provide their insights about being selected for the group exhibition and being part of the 2024 FotoFocus Biennial.

What is your selected work about? What is the story you’re telling, or the concept you’re conveying?

Ace Quan: My work is from Riot Fest 2021 in Chicago, Illinois. It’s an outdoor punk-rock music festival, and it was my first time in that kind of environment. I remember my high school film photography teacher heard I was going, gave me a point-and-shoot camera and my first roll of film, and told me to take pictures. I selected these from that roll because they all have a specific timeless and nostalgic feeling to me, even if they were taken post-quarantine. These photos are representative of a scene not everyone knows about, but they’ve seen before. Maybe not in person, and maybe they think that scene is dead, but it’s there and thriving.

Isabella Slone: My work is about the deep connection between humans and nature—in this particular photo my boyfriend’s bond with his rescue puppies. After his stepdad found the mom while hunting, he brought her home and kept her; eight months later she gave birth to 11 puppies. They rehomed them all but kept the mom, Sally, and her daughter, Betty. I wanted to show the importance of human affection towards other animals.

Aminata Thiam: This selected piece tells a story of the true nature and details of the world many tend not to see. We move so fast in our everyday lives that we never really look at the smallest details in anything, especially while we drive long distances or state to state. This selected piece captures a pretty, small, white house in the countryside by itself on an unpaved driveway. But slowing down, certain components are unmasked to be viewed if you stop for a second. The faint white trails in the sky, soft cotton ball clouds, and the aggressive winding trees that coexist with the pretty, small, white house, all work together to take a beautiful picture. Additionally, to bring out these characteristics a red filter was held to help guide the viewer’s eye.

As an art student, what is it like to have your work featured in an exhibition that’s part of the FotoFocus Biennial?

Ace Quan: I do confess, I am not a photographer, so it really surprised me that I was featured. I picked up film photography in high school as a hobby, but my art home is in digital illustrations. It’s so freeing knowing that the school I’m going to is so open to all kinds of artists being experimental and trying different mediums and art forms and encouraging them to put themselves out there with exhibitions like this.

Isabella Slone: I was completely shocked when I found out my work was accepted! This is my first non-class show, so I’m really excited and I feel very honored to be a part of FotoFocus!

Aminata Thiam: Honestly, it’s amazing to be a part of this opportunity. When I first heard about this exhibition, I was ecstatic to the point of telling some of my photography friends to be a part of it. In the following weeks after the initial email came out, the solar eclipse was happening. On that day, me and some friends drove up to Yellow Springs to see the eclipse better. I took my filters and rented a camera to take some photos of the beauty in the sky, and after having the best day taking photos, I submitted what I felt was good, and I got in. I’m so happy I got the opportunity to re-live one of the best days of my life and show my work in the process.

As a participating venue of the 2024 Biennial, the Art Academy is presenting six gallery exhibitions this year. These include:

Deeply Rooted in Pearlman Gallery, on view until Oct. 25

Contested Ground in McClure Gallery, on view until Oct. 25

Student Reflections in Chidlaw Gallery, on view until Oct. 25

Digressions in SITE1212, on view until Nov. 1

Another First Impression in SITE1212, on view until Nov. 1

Humphrey Gets His Flowers in SITE1212, on view until Nov. 1

Gallery Info

Our galleries are free and open to the public, and no registration is needed. Check-in at the security desk is required. View all upcoming exhibitions for the rest of the season.

Gallery Hours:

Monday – Friday: 9 a.m. to 9 p.m.
Saturday – Sunday: 9 a.m. to 5 p.m.

Location:

Art Academy of Cincinnati College of Art & Design
1212 Jackson St., Cincinnati, OH 45202

Traveling via the Connector streetcar? We’re right around the corner from station 7 in Over-the-Rhine!

The post Artists Q&A: ‘Student Reflections’ appeared first on Art Academy of Cincinnati.

Student Highlight: Curating ‘Deeply Rooted’ for 2024 FotoFocus Biennial

Alex Tellez — Thu, 17 Oct 2024 18:07:24 +0000

Between last spring and this fall, a group of Art Academy B.F.A. students gained hands-on experience with curating a professional gallery exhibition from start to finish. The result is Deeply Rooted—a photo exhibition that’s now on view in Pearlman Gallery on our campus. The exhibition is presented in conjunction with the 2024 FotoFocus Biennial: backstories.

Associate Professor Emily Hanako Momohara, who is Interim Studio Arts Chair and Head of Photography at the Art Academy, guided students through the curatorial process with her course, Curating the Backstory.

“Students got learn about the process in a very accelerated timeframe. They researched, communicated with artists, selected artists from contracts, created programs, wrote the text for the catalog, and organized all of it. It’s a very accelerated version of what curators do,” Momohara explained in a gallery talk for Deeply Rooted.

Student curators for this exhibition include Noctis Bailey, Dominique Catron, Meg Elizabeth Evans, Jaila Felts, Kamaire R. Jones, Makayla Lane, Tammie Le H. M., Grace Macke, Leo Elliot Manis, Jaclyn Payne, Jordan E. Shuter, Gabrielle A. Price, and Cove Weyand.

Deeply Rooted highlights photographic work from acclaimed artists Vikesh Kapoor, Tomiko Jones, and André Ramos-Woodard. This curation tells multi-generational stories of traditions. The artists explore memory through cultural and familial experiences from different perspectives. Intergenerational aspects of intimate spaces, objects, and portraiture are showcased in vernacular, film, and digital photography.

Artistic Insights from the Curators

On Friday, Oct. 11, student curators Meg Elizabeth Evans, Jaclyn Payne, and Makayla Lane gave a gallery talk in which they revealed artistic insights and curatorial perspectives about the photography on view. A selection of their insights is presented below alongside the photos on which they focus.

Meg Elizabeth Evans

When we were given the prompt about backstories, we really started to understand it as multi-generational, family, and culture, and how that shapes us to be who we are. Here on this wall, we have two Vikesh Kapoor pieces: Before Immigration, 1969 and Last Summer, 2019. I think they really captured the passage of time with Vikesh’s family. This first one was taken before his parents immigrated. It was actually taken 50 years before Last Summer. And I think it causes me to ask myself, how much has changed in those 50 years?

Something really notable to me is how Vikesh’s father is dressed in these pieces. This first one, he’s wearing a suit, sunglasses. And the second one, he’s in his pajamas. He’s obviously much older, and it really makes me feel like he’s kind of settled down, at home.

These pieces, they remind me a lot of going to my Filipino grandfather’s house when I was younger. I’ve noticed a lot of first-generation, older immigrants have a kind of similar aesthetic around their home. Between my grandfather and I, there’s a language barrier, and a lot of what I learned about him was through objects throughout his home. We bonded over the CD collection, old photographs, trinkets, and, of course, his candy stash. What is kept in these left spaces is so significant. When you grow up, you start to see these places in a different way.

Jaclyn Payne

One of the concepts that we had in mind when curating the show was vernacular photography. It’s the celebration of what seems mundane. Our daily routine, the ordinary, the everyday life. It is the memorialization of the normalcy of capturing our daily lives and the normalcy behind them. How vastly different or similar they are.

With André Ramos-Woodard, he redefines vernacular photography. He uses repurposed imagery from family albums and family archives along with painting, collage, and drawing effects to infuse these new meanings of life, of race, identity, and social perceptions as a young Black man in America. He provokes this critical examination and cultural perception of life and power dynamics as he invites the viewer to reconsider it from these stereotypes and biases that we have seen in history and in modern society.

As we’ve been talking about identity, Tomiko Jones chose her series, Passage, to talk about her Japanese-American heritage and her grandmother’s house in Hawaii. Now, up in the top left, you can see a temple where the funeral service of her grandmother was held. And then these are depictions of the food that was served on the day that the service was held.

Now, we all have traditions that we, as families, specifically like to do. In mine, as a family member has passed, we come to the funeral service, we all grieve together. Then afterward we all gather and eat at someone else’s house, just to remind ourselves that even though the day is somber and everything, we still are together as a whole family. And like Tomiko, I also keep cherishing and remembering my grandmother by wearing her ring on my pinky finger. Just to remind myself that even though she is not physically with me right now, she is always right next to me in my heart.

Makayla Lane

Looking at this space, there’s a large selection of items including this American flag. It’s a very dimly lit space. To me, this starts a lot of conversations of my own personal experiences in a middle-class American home. There always seems to be a space where items are collected that have a function but are no longer used so much for that function, so they’re kept more for memories and past function. Thinking about that, along with Vikesh’s parents’ background and their immigration to America, and their experiences as bicultural individuals.

When I look at this photo, titled Our Childhood Swimming Pool, his father’s expression doesn’t really give you a lot. You can’t really tell how he’s feeling. To me, that makes me question his experience in America. Having reached this kind of place in life that he’s dreamt of or achieved, and then looking forward, how does he feel now, where he’s at?

I think the last half of that title is really important—the gun that killed him, they sold it for so much, and the fact that our society was sort of complacent to that. Thinking about that and looking at these figures, both in the image at the top and the exterior figure at the bottom, it makes me start to question my relationship with this society and what the American dream is for people.

About the Art Academy of Cincinnati-FotoFocus Partnership

The Art Academy has fostered a strong, ongoing partnership with FotoFocus since the lens-based arts organization hosted its first Biennial in 2012. Every two years, FotoFocus presents a month-long celebration of lens-based art at galleries, museums, schools, and nontraditional spaces throughout Cincinnati, Dayton, Columbus, and Northern Kentucky. It represents the largest lens-based exhibition series of its kind in the country. The Curating the Backstory course was supported and made possible by FotoFocus.

As a participating venue of the 2024 Biennial, the Art Academy is presenting six gallery exhibitions this year. These include:

Deeply Rooted in Pearlman Gallery, on view until Oct. 25

Contested Ground in McClure Gallery, on view until Oct. 25

Student Reflections in Chidlaw Gallery, on view until Oct. 25

Digressions in SITE1212, on view until Nov. 1

Another First Impression in SITE1212, on view until Nov. 1

Humphrey Gets His Flowers in SITE1212, on view until Nov. 1

Read more about our partnership with FotoFocus right here: “FotoFocus Brings Lens-Based Art to Cincinnati at the Art Academy of Cincinnati College of Art & Design”

Gallery Info

Our galleries are free and open to the public, and no registration is needed. Check-in at the security desk is required. View all upcoming exhibitions for the rest of the season.

Gallery Hours:

Monday – Friday: 9 a.m. to 9 p.m.
Saturday – Sunday: 9 a.m. to 5 p.m.

Location:

Art Academy of Cincinnati College of Art & Design
1212 Jackson St., Cincinnati, OH 45202

Traveling via the Connector streetcar? We’re right around the corner from station 7 in Over-the-Rhine!

The post Student Highlight: Curating ‘Deeply Rooted’ for 2024 FotoFocus Biennial appeared first on Art Academy of Cincinnati.

Artists Q&A: Taylor Dorrell and Cody Perkins

Alex Tellez — Thu, 10 Oct 2024 19:07:26 +0000

Look closer at the sprawling Amazon facilities in Cincinnati and Northern Kentucky and you’ll find more than meets the eye.

That’s what photographers and Art Academy alumni Taylor Dorrell and Cody Perkins invite you to do with Contested Ground, a photo exhibition that centers the spaces and people who influence, and are influenced by, those sprawling facilities. The exhibition is now on view as part of the 2024 FotoFocus Biennial: backstories in McClure Gallery at the Art Academy.

By their own description, Contested Ground “mixes the economic, spatial, and class dynamics of the Amazon boom, while employees in the Northern Kentucky facility seek union recognition and a fair contract.” This series of color photos pulls focus towards the transformative impact large corporate entities have on the land, the people, and the future of communities where they operate.

Taylor and Cody reveal more perspectives, below, about the perspective of Contested Ground.

AAC: How did this opportunity to tell these stories come about? How long have you been engaging with this material?

TD: A lot of my writing and photographic work has focused on labor and geography, specifically how space is shaped by economic forces. I’ve been reporting on labor stories as a journalist for years now (while I also organize with the National Writers Union) and have been writing a lot about the forces changing the material conditions of Columbus. I was following the efforts to unionize the KCVG Amazon facility after the successful unionization of Amazon’s JFK8 facility and wanted to examine how all these forces intersect.

CP: Personally, I have had a lasting interest in the general subject of the change in the economic and literal landscape of the area for at least the last 10 years. Many friends and family members are directly involved/affected by these types of corporations and how their supply chains are managed.

AAC: Tell us about your documentation methods. Where did you begin, and how did you discern what to capture?

TD: Cody had been living around the area throughout his life, so we’d drive around the area with a rough checklist of spots we wanted to photograph like new developments or warehouses. We were interested in spaces that were changing due to nearby Amazon facilities. The photos of union actions were obviously up to wherever they were organizing.

AAC: You’ve written that “economic investments are often relegated to abstract numbers and historical parallels.” Tell us how your documentation grounds viewers in concrete realities, as opposed to ambiguities and echoes of the past.

TD: I’m a fan of presenting photographs that might seem like mundane landscapes but then having a statement that charges the photographs with meaning, especially political meaning. I think a lot about a photo book by Tod Papageorge that shows scenes from different sports games in 1970. The title of the book is American Sports, 1970: Or How We Spent the War in Vietnam. I love this bait and switch, taking an object that anyone would find beautiful and injecting it with an earnestness that strips away its innocence.

AAC: Why do you feel these are important stories to tell and portraits to capture?

CP: Corporate entities have always been known to influence change in communities but being able to show the normal people that are a part of what is going on, day in and day out, is necessary. The people are the ones that are the backbone for these industries and should be treated as such.

AAC: As alumni of the Art Academy, can you tell us how it feels to return, with your professional work, to campus?

TD: It’s exciting to come back and remember that energy. When you graduate and are spending all of your time in the “workforce,” even if it’s in a creative field, you don’t have that consistently stimulating atmosphere. But it also feels good to come back with almost a decade of growth as an artist.

CP: It was fun to reminisce a bit but also exciting to see many of the changes that have occurred since graduating. Overall, it’s been a pleasure to show and collaborate within the space at the Art Academy and refreshing to be around so many creatives!

Read Taylor and Cody’s complete artist statement for Contested Ground. The exhibition is on view in McClure Gallery at AAC until Oct. 25.

Artist & Gallery Info

Taylor Dorrell earned a BFA in photography from the Art Academy of Cincinnati in 2017. Taylor is a freelance writer and photographer, contributing writer at the Cleveland Review of Books, reporter at the Columbus Free Press, columnist at Matter News, and organizer in the Freelance Solidarity Project union. www.taylordorrell.com

Cody Perkins was born in Kentucky in 1995. He went on to study photography and received his BFA from the Art Academy of Cincinnati in 2018. Perkins has exhibited his work in the US and abroad, including work in shows at Praxis Gallery in Minneapolis, at Unseen Gallery in Amsterdam, and at the Alice F. and Harris K. Weston Art Gallery in Cincinnati. Perkins currently lives and works in the Greater Cincinnati area. www.codyperkins.net

Our galleries are free and open to the public, and no registration is needed. Check-in at the security desk is required. View all upcoming exhibitions for the rest of the season.

Gallery Hours

Monday – Friday: 9 a.m. to 9 p.m.
Saturday – Sunday: 9 a.m. to 5 p.m.

Location

Art Academy of Cincinnati College of Art & Design
1212 Jackson St., Cincinnati, OH 45202

Traveling via the Connector streetcar? We’re right around the corner from station 7 in Over-the-Rhine!

The post Artists Q&A: Taylor Dorrell and Cody Perkins appeared first on Art Academy of Cincinnati.

October Message from the President: BLINK, BLINK, BLINK

Alex Tellez — Fri, 04 Oct 2024 13:26:27 +0000

Hey AAC Community,

We are in full swing for the upcoming BLINK festival taking place Oct. 17 to 20! AAC will bring to life zoOTRopia for those four days and nights.

We’re looking forward to all the events surrounding student participation and activating Jackson Street with art, light, projections, music, and performance—one of those performance experiences being STINKSTOCK: BLINK edition! This annual event (usually held every spring on campus) includes music and spoken-word performances from our very own AAC students and faculty. Please see Stephen Kenny for information and participation possibilities, and make sure you’re there to experience it on Saturday, Oct. 19!

Check out the complete details about BLINK at the Art Academy of Cincinnati below.

ZoOTRopia is a a four-day creative extravaganza of light, music, and curated oddities on Jackson Street between Central Parkway and 13th Street.

Centered on immersive experiences that are designed and produced by AAC students and faculty, zoOTRopia focuses attention on the urban creative landscape as the integral backdrop for projects presented on Jackson Street and celebrates our 20th year since our relocation from Mt. Adams to Over-the-Rhine.

Collaborating with the AAC and a first entry into the BLINK universe is the Cincinnati Zoo, the American Sign Museum, and The Mural ReMix team from Columbus College of Art and Design (CCAD). We’re also pleased to welcome new collaborations with past BLINK participants like the Cincinnati Art Museum (CAM), School for the Creative and Performing Arts (SCPA), Cincinnati Music Accelerator (CMA), Forealism Tribe, and the University of Cincinnati’s College of Design, Architecture, Art, and Planning (UC DAAP). The four-day-and-night series of events also includes projects by the Know Theatre.

ZoOTRopia is funded in part with instrumental support from ArtsWave and City of Cincinnati Chamber of Commerce.

Day 1, Oct. 17: ZoOTRopia kick-off party

OTR kick-off party including the “zoOTRopia” sign to represent a connection to the original 2017 BLINK festival with a revamped and re-imagined installation by American Sign Museum in partnership with Matt Lynch and myself. The cascading milk crate installation kicks off the evening of installations, student activations, and performances.
AAC and CCAD collaboration: digital projection mapping and animation on the Kim Krause-designed “Energy and Grace” mural (which will continue all four nights)
Cincinnati Zoo lanterns collaboration: cross-promotion for the Jack O’ Lantern Glow and Festival of Lights at the Zoo
Student activations: engaging sculpture led by Professor Keith Benjamin and additional student projects from AAC and SCPA

Day 2, Oct. 18: Fired Fantasies

Glass blowing and fire performances, featuring AAC Alum Merritt Holdcraft with glass blowing demonstrations
Evening activities also include glow-in-the-dark face painting, interactive street murals, kids’ activities, duct tape games, and prize giveaways.
Special performance by SCPA students in the evening

Day 3, Oct. 19: SATURDAY&NIGHT FAB 155 FEVER

Cincinnati Zoo Animal Ambassador experiences: daytime activities for all ages, including live animal ambassador program (featuring Lily the Skunk!). Other Zoo experiences for all ages include interactive “live animal drawing” workshops during the day
Celebration of Excellence: evening festivities with STINKSTOCK: BLINK edition (emceed by Crystal Tubes and Pam Kravetz) and a special performance by Michael Coppage and GODJILLA
Digital mapping archive projection in collaboration with the Cincinnati Art Museum: highlighting AAC’s 155 years of excellence through the art of our treasured alumni from Frank Duveneck to the Harpers (Charley and Edie) to John Ruthven, Tom Bacher, Petah Coyne, and Jenny Roesel Ustick, to name a few of the many alums highlighted.

Day 4, Oct. 20: Sunday Funday and Night

DJ set battles from 7 to 10 p.m.
All-inclusive evening in collaboration with students from AAC, a block party with a special DJ set by AAC alumni Forealism Tribe, and a finale wraps up the festivities

Can’t wait for all that is upon us this October—see you there!

Joe Girandola, President, AAC

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Welcoming Emily Holtrop as Our New Board of Trustees Chair

Alex Tellez — Fri, 20 Sep 2024 14:36:27 +0000

The Art Academy of Cincinnati started the 2024-2025 academic year with the appointment of Emily Holtrop as our Chair of the Board of Trustees!

Emily is a longstanding arts and education advocate who has made tremendous impact throughout her career in Cincinnati. In her role at the Cincinnati Art Museum (CAM), she oversees the museum’s interpretive and educational initiatives, which include public programs for all audiences and abilities as well as gallery interpretation. She was awarded the prestigious National Museum Education Art Educator award in 2018.

Through her role at CAM, she shares a common historical thread with all of us at AAC. Beginning in 1884, AAC was a museum school within the Cincinnati Museum Association, of which CAM was a part. We became an independent college of art and design in 1998 and continued to operate in a building adjacent to CAM. We moved to our current home in Over-the-Rhine in 2005. (You can read more about our 155-year history here.)

We’re so pleased that Emily is contributing her leadership to AAC as Chair and that we’re continuing a shared legacy with CAM. Get to know Emily a little more in this Q&A.

The Art Academy of Cincinnati started the 2024-2025 academic year with the appointment of Emily Holtrop as our Chair of the Board of Trustees!

We’re so pleased that Emily is contributing her leadership to AAC as Chair and that we’re continuing a shared legacy with CAM. Get to know Emily a little more in this Q&A.

How long have you been serving on the Board of Trustees at the Art Academy? Had you been affiliated with our school before then?

I have been on the Board since 2022 and have loved being part of the energy of the school. In my role as Director of Learning & Interpretation at CAM, the AAC has always been at the forefront of my work. CAM and AAC are long-time partners, and our history runs very deep.

Tell us about what connects you to the mission of the Art Academy.

Art has always been such an important part of my life, as has education. My mom was a middle school art and home economics teacher, and my dad an English and speech teacher in the Michigan prison system—so education was always important in our house. When other kids were going to Disney World, we were going to Plymouth Plantation. I say this to illustrate that the mission of the school to be a space for creativity and learning is at the core of my being. It is a place where I feel at home.

AAC and CAM go way back. In your opinion, how would you say our institutions align? How do you envision our shared future?

Both the CAM and AAC are non-traditional learning environments focused on art and design, and as such, we cannot help but align. It is both of our responsibilities to foster the next generation of artists and art scholars. Through greater partnership between AAC and CAM, we can create opportunities for AAC students to be in the museum, learn from our collections and staff, and see a future working in the arts. Also, I would like to see more interaction with AAC students in planning for the CAM’s future—they are part of our community, and their voices are valued.

In your new role as Chair of the Board of Trustees, what impact do you aim to make on behalf of our students and our greater arts community?

Wow, I think this is a work in progress, but I would say at this point, I want to make the community much more aware of AAC and the great work the school is doing, not only for the students who attend the school but also for the immediate community of Over-the-Rhine and Greater Cincinnati. I want our students, faculty and staff to be recognized for the amazing work they are doing and to have pride that they are representing AAC. Great awareness = greater support!

We’ve just begun the school year, and there are so many things to look forward to! What would you say you’re looking forward to the most?

While we have a few big events coming up, like BLINK, I am always excited to come to exhibition openings and to see student work. Even though I am surrounded by art at the CAM, I know these works. I love seeing new art by new artists.

AAC students, please invite me to your studios! I want to see your work and talk to you about your process—that is what gets me excited!

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Student Highlight: Jena Russell, Megan Hathaway Design for Make.Do

Alex Tellez — Tue, 17 Sep 2024 18:55:31 +0000

Real-world application of classroom studies is an essential part of the student experience at the Art Academy of Cincinnati. In this AAC student highlight, we talked to B.F.A. students Jena Russell and Megan Hathaway about how they translated a classroom project to a professional contract last Spring. What originally started as a simulation of the client-designer experience became a paid opportunity when the owner of Make.Do, a Cincinnati yarn and fabric shop, contracted them to bring their proposal to fruition.

Classroom Studies to Commercial Experience

Assistant Professor Kate Tepe, AAC’s Head of Design Major, teaches DS303: Experience Design every Spring semester. The course immerses AAC juniors and seniors in the world of design, brand building, visual communication, and industry standards and practices. The course also presents potential opportunities for working directly with clients.

Kate invited Make.Do shop owner Jennifer Cox (Jen) to her DS303 class so that students could gain experience with client-based work. The project called for students to research Make.Do’s brand needs and design strategies so that they could present a proposal to Jen.

Jen was seeking creative solutions to increase the visibility of her shop, located on a main road in Pleasant Ridge, by developing a retail display. Students needed to familiarize themselves with the Make.Do brand, understand the business’s industry and target audience, and integrate the business’s unique needs. For example, Jen’s senior mother enjoys working on the window displays, so the materials needed to be safe and accessible to manipulate.

Megan describes, “Jen was looking for ideas on what she could do to make displays livelier, bring more customers in. As a class, we could ask Jen questions and see what she was looking for. The project was to create a window display that could work for four different seasons.”

“Jen was originally saying she wanted something that she could keep all year-round, but Megan and I came up with the idea to create a series of props that represent the everyday bag that her typical customer would have. She mentioned that her mom enjoys making the displays herself, putting in different props for seasons and holidays. We decided to make generic props for the everyday bag so that her mother and her could go in customize for the seasons,” says Jena.

Designing the Details of Make.Do

With a full scope of Jen’s needs for Make.Do, Jena and Megan started focusing on visualizing their display.

Jena explains, “Something that Megan and I both enjoy are the Anthropologie window displays. There was one a long time ago where they had these humungous macarons, and they would basically stack them up in different ways and would install different window displays with the different macarons they had. We thought it would be cool to have something that versatile.”

Resembling a life-size dollhouse, Jena and Megan designed larger-than-life tools and items that Make.Do customers use, like a ruler, buttons, a spool of yarn, a ball of yarn, knitting and crochet needles, and, of course, the everyday tote bag.

Megan says, “This project taught us how to work with a client in the way of taking steps to complete it. Our first phase was conversations with Jen about what she wants, what’s the budget. Then it was buying the materials and making sure we were buying the right amount of materials and keeping track of it all. Working with a budget, we had to make sure we weren’t going crazy with all these materials. I feel like it taught me how my time and my skill are really worth something. You’re not just working for nothing—you’re building things that are worth something.”

Developing Key Insights

Jena and Megan’s experience of transitioning a simulated project to a paid professional opportunity represents exactly what AAC aims to facilitate for students. Under Kate’s guidance, Jena and Megan—both of whom are B.F.A. Design students who recently began their senior year—established contracts, delivered creative design work for commercial purposes, and solidified local, professional connections.

Adds Megan, “I haven’t really worked with clients before, besides friends and family. I think this course really taught us how to talk to a client, how to have that professional relationship with someone who wants to hire you and having enough research to say, ‘I know who you are, I know your business, I think this is the best course of action.’ Kate helped us step by step. She really helped to prepare us for the future. I feel like I can confidently do that on my own.”

“I think this class is pretty essential and important for everyone to take, especially if they don’t have that experience yet of working with people in the real world,” says Jena. “It helps you figure out what type of people you’re interested in working with and what type of businesses. It gives you a sneak peek into what things might be like when you get out of school. Not only does this prep you for other classes for your senior thesis, it also helps prep you for the real world for when you graduate.”

Says Kate, “The 300-level Design classes allow students to engage with real business leaders, gaining insight into practical challenges and the opportunity to collaborate to develop creative solutions. With this project, Jena and Megan we able to understand Jen’s needs and provide her with a modular system that keeps her store windows fresh and engaging for the very walkable culture of Pleasant Ridge and her customers!”

Jena and Megan are both B.F.A. students who are studying Design. As seniors this academic year, their thesis work will be on view in our galleries on campus during the Spring as a culmination of their studies.

Kate is Head of the Design Major at AAC and is a multi-media artist who creates work related to group and personal identities, interpersonal relationships, and community networks. She has over a decade of experience working with brand identity and development, communications, marketing, and art education and programming. Kate has a socially engaged practice but has also worked with brands such as Massimo Zanetti, Target, and Pepsi, and creative partners such as the Cincinnati Art Museum, Cincinnati Public Schools, University of Dayton, and the Art Institute of Chicago.

Interested in Design? Read more about the undergraduate program here.

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What We Did on Our Summer Vacation: 2024

Alex Tellez — Mon, 16 Sep 2024 16:55:35 +0000

Welcome back to school, AAC community! We missed seeing your artistic spark light up our classrooms, studios, and galleries. While most of our students were on summer vacation from May to August, the AAC team kept the creative energy moving with exhibitions, fundraising events, and camp programming. Take a look!

May

Honored Former AAC Leader Paige Williams

Our far-reaching community gathered to honor Paige Williams—artist and former AAC Professor, Vice President of Academic Affairs and Academic Dean—who left her post in May after 30+ years of service to the institution. She has since joined Endicott College as their Dean of Visual and Performing Arts. Faculty, staff, alumni, and members of our generous community of donors celebrated her many years of service with a gallery exhibition and reception of her paintings and drawings.

A portion of Williams’ artwork was made available for purchase, and a percentage of the proceeds were donated to the Art Academy’s scholarship fund. Philanthropists Chip and Wendy Finke generously enabled “Double Your Impact in Honor of Paige Williams,” a matching gift commitment of $50,000 to establish a scholarship fund in Williams’ name. In total, the gallery exhibition and reception for Williams raised more than $126,000 for student scholarships at the Art Academy.

Hit the Links to Support AAC

Golfers and supporters of the Art Academy enjoyed a round of golf, spirited competition, and camaraderie at California Golf Course, hosted by AAC’s Board of Trustees. It was our Second Annual Golf Outing fundraiser. Golfers, sponsors, and donors alike brought in $14,700 to support our students!

June

Honored the Late Kelly Stevens with “Be Excellent to Each Other”

We hosted a weeklong exhibition in the Pearlman Gallery in honor of Kelly Stevens—a B.F.A. alumna and graduate student who passed away in late 2023. Titled Be Excellent to Each Other, the exhibition featured several paintings and sculptures that Stevens created. Her family and friends hosted a reception, giving the AAC community the chance to gather, view Stevens’ artwork, and share stories and memories.

Stevens was a passionate and talented artist who channeled the power and depth of her emotions into the art she created. She skillfully rendered vulnerable experiences into colorful, stirring works that embody themes of empathy, friendship, closeness and community. During her time at AAC, she earned her B.F.A., pursued her M.A.A.E., taught community education courses, and provided profound and endless support to her artistic peers.

Presented Duck Tape® Sculptures at Washington Park

Fourteen larger-than-life sculptures made entirely of Duck Tape® brand duct tape transferred from our studios on Jackson Street to Washington Park as part of the annual “Duck Tape® at the Park” exhibition. These vibrant works of art were created by AAC students and alumni, local artists, a class of sixth-grade students at Winton Woods Intermediate school (under the instruction of art teacher Harmony Main), and a class of sixth- and eighth-grade students at The Summit Country Day School (under the instruction of art teacher Samantha England).

After the exhibition, the sculptures were transported to Avon, Ohio, as part of a citywide, month-long event called the Duck Tape® Sculpture Scavenger Hunt, which is sponsored by Shurtape Technologies, LLC, the company that markets Duck Brand®.

Celebrated Pride with Family, Friends, and Neighbors

We celebrated the LGBTQ+ community during Pride month with a variety of events and engagements. Our student group QueerSpace held an exhibition in SITE1212, and a group of students and staff represented AAC in the annual Cincinnati Pride parade. We held a Pride-themed market for our community to shop local artists and vendors and enjoy drinks and music in SITE1212. In collaboration with Bloom OTR, we hosted a drag show and happy hour. Finally, we were pleased to host Cincy Vogue’s Beyonce Day Party, also in SITE1212.

Presented the Annual "S.O.S. Art Exhibition"

Our Pearlman, McClure and Chidlaw Galleries were filled with works across the artistic spectrum as part of the S.O.S. Art Exhibition. Organized by a collective of local and regional artists, works on view embodied creative expressions for peace and justice. More than 100 Greater Cincinnati artists were featured in this community art show.

Filmed a Commercial for AAC

Our marketing team worked with local production pros to film an all-new commercial for AAC! B.F.A. student Kennede Oninku played a lead role as an art student who attends AAC in the nineties. Her story arc is crosscut with co-lead and Cincinnati actor Dominique Lewis, who walks a similar creative journey set in modern day. We’ll debut the commercial soon!

July

Rested and Relaxed for Wellness Week

We closed our offices for the first week of July to give our AAC staff the opportunity to rest, relax, reset, and enjoy the July 4th holiday with family and friends.

Engaged Young Artists, Future Art Students, and Lifelong Learners

Our Office of Engagement educated hundreds of people throughout our robust series of summer programming! Throughout June and July, 353 K-12 students attended Camp Art Academy, Teen Academy and Future BFA Pre-College. We also taught 34 lifelong learners, ages 13 and up, in our ongoing Community Education series from June to August.

Hosted a One-Stop Dinner for New Students

Before our official student orientation, we invited new and incoming students to join us for dinner, gathering, and registration. Our AAC Student Affairs and Admissions teams hosted a one-stop dinner where incoming students could get a jump-start on meeting their peers, completing registration and paperwork for the 2024-2025 year, and becoming a member of the AAC community.

Presented an Exhibition of our M.A.A.E. Students

Six graduate students completed a semester of multidisciplinary work as part of our low-residency summer program. Working towards their Master’s of Art in Art Education, students took courses and worked independently in their own studios to focus deeply on their work and hone their artistic skills. Their semester culminated in an exhibition titled Labor of Love, presented in the Pearlman and McClure Galleries.

August

Welcomed New Stinkers to the AAC Community

During the week before classes started for the Fall semester, we held student orientation for new and first-year students and excitedly welcomed the AAC Class of 2028! Our Executive Leadership and Student Affairs teams trained a new class of resident advisors, ensured that incoming students dotted every i and crossed every t so that their semester started smoothly, and introduced new community members to the eclectic city of Cincinnati.

Welcome to our world, little stinkers! You’re going to love it here—and we can’t wait to see what you create.

The post What We Did on Our Summer Vacation: 2024 appeared first on Art Academy of Cincinnati.

Artist Q&A: Tracy Featherstone

Alex Tellez — Wed, 11 Sep 2024 20:12:48 +0000

Artist and educator Tracy Featherstone turns over a new leaf with Green Kitchen, an exhibition of textile, ink, recycled paper, painting, and mixed-media works borne from a new life. They were completed between 2023 and 2024.

Against the backdrop of a global pandemic, Tracy found herself facing her own mountain of change. She moved through divorce, moved into a new home, set up a new studio, transitioned into a new job at Miami University, learned to teach hands-on art virtually, and welcomed a four-legged member into her life with the adoption of her dog, Skye. A description of her exhibition Green Kitchen reads, “The changes were by no means the worst-case scenario regarding COVID fallout, and it is recognized that many people had much greater life tragedies. In Featherstone’s world it was like someone pushed the red eject button.”

And yet, such a significant series of upheavals can pave the way for redemption and renewal. In a new home with a new life, Tracy figured out how to make new work. She experimented with new processes and found ways to bring older works into a different artistic life. She mindfully sourced her materials to embody environmentally conscious practices. She committed to one quick ink drawing daily, in the spirit of the One Minute Sculptures by artist Erwin Wurm, to get out of the funk she was in and to welcome her own intuition back into the fold. Green Kitchen represents a journey of rediscovery.

She writes, “All the work in this exhibition explores common themes in previous works such as the importance of materials, relationships, longing, touch, and how we shape the environment and the environment shapes us. All works were made in the new studio in the new household which has a delightful green kitchen.”

Read more about Green Kitchen in this Q&A between Tracy and our marketing team.

AAC: There’s a strong emphasis on environmentally friendly materials and methods in this exhibition. Have these always been a part of your practice in some way or did your experience in 2020 really kick that off?

TF: I think I was already on a rampage, you know? And then COVID, oh my God, we couldn’t do all the things we were trying to do—like not use plastic and takeout containers. Everything just fell to the wayside because we couldn’t be at a restaurant, and you always had to get takeout. But early in my career, I made a lot of sculpture, and it always became a storage problem. Often after I was done showing work, it would go through the cycle of getting shown in several places and if I felt like I really wasn’t showing it anymore, I would just take it apart and then use the pieces, reshape them, and use them in different sculptures. So it felt like there was a life cycle.

But then, this is probably eight or 10 years ago, I started doing a bunch of ceramics. I took a class and was doing just a lot of work. And so, I started making ceramics just like I did everything else, like a lot of it. But I realized as it started gathering up, I had to store the pieces, and once you fired it, it didn’t have another lifespan. It was this solidified object that was either going to go into a landfill eventually, or it just had to be stored. I was already starting to consider all the fuel and all the things that go into making ceramics and pot powering and all that kind of stuff. That started to really bother me, and I made a conscious choice to kind of step away from that. And that’s when COVID hit. So I stopped making ceramics for a while. (I’m starting back up a little bit again.)

But I try to be conscious about making a drawing a day, and each one of those is on a piece of paper. There’s something I really like about one piece becoming the genesis. Getting recycled and becoming the genesis of the next, and this sort of cycle that one piece feeds into another and has this history to it. But it’s also more green in that way. I like materials that can do that.

AAC: You’ve written that your life changed significantly during the pandemic. How does your artistic approach now differ from your approach pre-pandemic?

TF: I think I’m still figuring it out. I think the questions I ask myself now more than I used to are more life balance questions. It’s probably not a really interesting answer, but I have less time, so that has an effect because I’m running a print studio and then I’m, you know, a single-person household. My studio is in my house now, so that makes it a little easier to get work done, but I do also work up at the print studio, and so the commute takes up time.

I’m trying to get the right balance, and I think one of the things I found after this drawing-a-day project is that maybe I’d like to take time now and go back into those drawings and mine those drawings for some more larger sustained pieces—instead of just making, making, making. I think I want to take some time to step back and analyze what came out of those little drawings and see what I can mine from there and maybe spend a little bit more time not just mass producing. Just thinking about what I have and creating new work from there.

AAC: Yeah, yeah. And you had mentioned that these works were created within your home. I’m curious, as the artist, what sort of “energy” do you see when you consider the entirety of this collection?

TF: Well, it’s a lot like the daily drawings, these mundane things that are just around me and my household. That was part of the challenge because in the summer, when school’s out, I work in the studio, walk the dog and take care of other things. But I don’t leave the house very often. It was literally like one of the things that kept on coming up—like, I’m gonna make a drawing today, what am I gonna draw, you know? I was sort of running out of things to draw but I think that was part of the challenge.

One of the artists I really like is Amy Sillman. For her it’s almost like the subject matter doesn’t make a difference. It could be a kettle or something, but it’s just how she paints it and how it interacts with the charged space. The object itself does not have to have any importance or be interesting—it’s how you create the work around it. I think there’s something to be said about seeing interesting things and the things you’re always looking at. And I think there’s that connection about my work. The materials are all pretty accessible. They’re pretty, you know, democratic materials. There’s no fanciness. It’s sort of this idea about trying to find small, interesting things and being present and aware.

Read more about Green Kitchen and view photos. This exhibition is on view in Pearlman Gallery until Sept. 20. View more of Tracy’s work at her website.

Our galleries are free and open to the public, and no registration is needed. Check-in at the security desk is required. View all upcoming exhibitions for the rest of the season.

Gallery Hours:

Monday – Friday: 9 a.m. to 9 p.m.
Saturday – Sunday: 9 a.m. to 5 p.m.

Location:

Art Academy of Cincinnati College of Art & Design
1212 Jackson St., Cincinnati, OH 45202

Traveling via the Connector streetcar? We’re right around the corner from station 7 in Over-the-Rhine!

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