High Style represents the apotheosis of the Cincinnati Art Museum

     The curatorial and design staff of the Cincinnati Art Museum (CAM) has historically put on special exhibits that are the equal of those at institutions with bigger names or in bigger cities.  High Style: Twentieth-Century Masterworks from the Brooklyn Museum Costume Collection is the latest case in point.  As the curators point out, there are a number of similarities between the Brooklyn Museum’s approach to clothing and that of the CAM. Where CAM has it over other museums (and I am thinking of Indianapolis) is in the physical staging—sets, props, and lighting—of a special exhibit.  Each exhibit is a unique production and they’re invariably gorgeous, witty, and become artworks in themselves.  They’re on a par with the Metropolitan Museum of Art so this makes complete sense for this to be here because Brooklyn’s clothing collection is now housed at the Met.  

Worth Designs

     The exhibit begins in the late 19th century with Jean Philippe Worth (1856 – 1926), who was the first couturier to market his haute couture – finest sewing – to the rich in Paris.  What may have seemed like an eccentric affectation was the first step in turning a traditional medium into a new artistic expression. 

The 20s

Many of the great European names of the 1920s and 1930s are represented with iconic pieces such as Jeanne Lanvin, J. Suzanne Talbot, Coco Chanel, and Jean Patou.  

Schiaparelli's Day Dress

     The next generation of European big names from the 1940s and 1950s show up in works by Spaniard Cristobal Balenciaga, Frenchman Hubert de Givenchy and, of course, Christian Dior.  My favorite from this group, however, was Italian-Frenchwoman Elsa Schiaparelli’s prominently and fully back zippered day dress.  It could walk runways around the world right now.  

Arpad's Shoe Design

     Where things get interesting is in its examination of two overlooked accessory designers.  Steven Arpad’s wild, one-of-a-kind shoes that are both high heeled and platform heeled were built in the 1930s, but they look like something a

Sally Victor's Millinery Works

Medieval queen or a disco diva could have worn.  Then there’s American milliner Sally Victor, whose stunningly elegant hats defined their era (1930s through the 1960s).  As Elaine Stritch’s Joanne sang in Company (1970), “Does anyone still wear a hat?” and that may have been the reason behind Victor’s unfairly faded renown.

Maxwell's
Sportswear

     Though historically the focus has been on Europe, Americans created their own spotlight in the 1940s and 1950s with the emergence of sportswear.  It was mainly female designers such as Vera Maxwell, Carolyn Schnurer, and Claire McCardell who did this while working in a patriarchal industry more interested in commercial product than artistic vision.  Then everything stops in its track and an overlooked legend comes to life.

Charles James' Clover Leaf Ball Gown

     American Charles James (1906 – 1978) earned Dior’s greatest respect.  Where Dior was about impeccable cut like Armani, James was a precursor to Versace.  Dior was Neo-Classical in his formality, while James was Baroque in his cornucopia.  How heavy were these clothes?  Katharine said that they were no more restrictive than a girdle would have

Cecil Beaton's Vogue Photograph in James' Gowns

been.  The dresses momentarily stop a viewer’s breath and when critics talk about architecture in clothes, this could be the jumping off point. They seem to float and refer to 18th century Versailles and the 19th century bustle; one even has a bustier.  Neil’s photographs capture their look, but the garments have to be seen to be believed.  The CAM supplements the background information with excellent computerized graphics showing the construction of these garments.  I’ve only seen this done previously with time-lapse photography of skyscrapers being constructed.

Halston and Scaasi

     My Mom’s favorite dress was Halston’s 1975 caftan, which refers back to the 1920s.  Betsy was taken with Arnold Scaasi’s 1983 evening ensemble that looks like a flowerbed. 

Adrian's "The Tigress"

The final piece is movie designer Gilbert Adrian’s 1947 ‘The Tigress.’  It displays the timelessness of clothing because the pattern looks contemporary, but exists in its own era because the lines of the silhouette were influenced by, but are more relaxed than, Dior.  

     Where the CAM really takes off and where Cincinnatians and Northern Kentuckians need to travel to Eden Park is that except for a $4 parking charge, admission is FREE.  

High Style runs through January 24, 2016.

cincinnatiartmuseum.org

Degas’ Dancer Sculptures in Toledo

Second String City 

with a First Rate Art Museum

The Toledo Museum of Art

     Neil had been to The Toledo Museum of Art in the 1980s and was very impressed with the works by El Greco he’d seen there.  There’s an exhibition of Degas and the Dance through January 10 so we thought we’d check it out between Detroit and Cleveland.  One thing about late 19th century industrial cities’ movers and shakers, (in this case the Libbey Glass Company) they sure as heck pushed for major art showplaces.  

The Agony in the Garden, El Greco

As a follow-up and possible suspense killer, there is an El Greco painting.  What Neil remembered, according to one of the docents, was actually an exhibit.

Degas' Little Dancer of Fourteen Years

     Degas and the Dance features eleven sculptures and paintings about ballet.  The centerpiece is the three foot tall figure of a dancer from the Ballet School of the Paris Opéra, the wax sculpture modeled in 1881, but cast in bronze a couple of years after Degas’ 1917 death.  It’s a boutique exhibit that is an amuse bouche for the following courses the museum offers.

The Glass Pavilion

     The unmissable, best thing to see first is the Glass Pavilion, opened in 2006 and designed by Kazuyo Sejima and Ryue Nishizawa before they won the Pritzker Prize for Architecture.  Though it seems influenced by Phillip Johnson’s glass block private homes, it seems to float in the landscape because of its curving lines inside and out.  There are glassblowing demonstrations, but we didn’t have much time to check that out because we were under a deadline. The sublime 

BCE Glass Pieces

collection extends from 1500 BCE to the last couple of years and includes examples from around the world.  Amazingly, glass did not change much in terms of technology or method for production.  

Variations in Glass

The basis for design and color has remained steady, while there have been specific variations by continent and historical era.  There’s a mix of pieces to be used and those to be viewed.  I’d recommend going there first on a visit.

Wolfe Contemporary Gallery

     Wolfe Gallery on the second level in the main building has been renovated as the central point for the contemporary collection.  It’s impressive and even has a large Jennifer Bartlett work, which is the first time I’ve seen such a work by her that wasn’t in a book.  The rest of the museum covers the 

major movements and continents over the centuries, though the Baroque and Rococo periods receive significant exposure.  The 19th – early 20th century pieces will entice many visitors.

Degas and the Dance runs through January 10. 2016.

toledomuseum.org

48 Hours in Detroit

Appear, Appease, Applaud by Xavier Simmons
from the Exhibit 30 Americans

     Where to go for a little cultural getaway?  This time our road trip was based around three exhibitions at three midwest art museums—Detroit, Toledo, and Cleveland.  Beginning with Detroit, we arrived   in time for a late lunch at El Barzon, a combination of Mexican and Itlaiian cuisines in Mexicantown west of downtown.  For those that are squeamish (i.e. afraid of exploring downtown CIncinnati), driving around Detroit neighborhoods may prove to be anxiety-ridden.  For us, it was sad and hopeful.  Covering complete neighborhoods that have been deserted for years was a bit like a bombed European city after World War II that we've only seen on the news.  Our questions were numerous with few answers, but we were there to celebrate their determination to make a great city great again.

Motown's Studio A

     Our second stop was Motown Museum in New Center district, a row of early 20th century homes purchased by Barry Gordy as offices for his music empire from 1959 to 1972.  After hearing about how most of the artists grew up in the same neighborhood, we were on a mission to find Diana Ross' family home.  A fast google research came up with a street, but not a house number.  Photos showed the home we were looking for, but we never found it.  In the process, we did pass Florence Ballard's home.  Later, after digging deeper into google, we found the addresses for all three Supremes

Florence Ballard's Home

discovering that Diana Ross' house was right across the street from Florence's and Mary Well's was a mere four blocks away.  It took us through some startling neighborhoods, but theirs was amazingly left untouched.  

The Henry Lobby

     Our "home" was The Henry located in Dearborn.  It's a lovely oversized boutique hotel with artwork lining the corridor, all for sale to guests.  Our dinner that night was at TRIA adjacent to the lobby.  We opted to share the Duck Cassoulet since our lunch had been quite hearty.  Eric started with the Pumpkin Soup and I had the Arugula Salad.  However, the main reason we were there was for the

Soufflé with Grand Marnier Sauce

Soufflé served with a Grand Marnier Sauce and vanilla Ice cream.  We were hoping for a Commander's Palace/New Orleans experience and that is exactly what we had.

     I had checked out the website detroit.eater.com for dining options.  It's a great idea with 38 restaurants that are briefly reviewed and updated quarterly.  Our stop for lunch was Rose's Fine Foods, a small diner committed to totally local food that even these foodies found amazing.  A short drive

Pewabic Pottery

down Jefferson Avenue was Pewabic Pottery known locally and beyond.  We found it akin to Rookwood. The quaint tudor

Pewabic Potteryware

cottage looked out of place in the neighborhood, but contained some pieces that we just couldn't resist for ourselves and as gifts.  

Detroit Institute of Arts. 2007 addition

     Next on our itinerary was the reason for our visit, the Detroit Institute of Arts.  Located on a city block just north of downtown, the original 1885 building was surrounded in the back by a contemporary addition from 2007.  What looked like a modest museum on the outside proved to be enormous once inside.  The collection was stellar and the Diego Rivera murals in the courtyard are not to be missed.  Walking through what

Diega Rivera Murals

became a history of art, it was hard to imagine that such a collection was actually proposed to be sold a few years ago to bail out the city.  From the surprisingly generous attendance on a Friday afternoon and into the evening, it would have been an unbelievable blow to a city already struggling for stability.  We were there four hours and only made it through one of three floors.

Shinola Store in Midtown

     Shinola (of shoe shine fame) has become a bright light to the Detroit creative class in the past couple of years.  Taking a mundane product, the new owners decided to turn it into a model for "made in America" with handmade leather products and gift items that epitomize quality with price tags to match.

City Bird

We visited their store in Midtown, an obviously trending area for young millennials.  We particularly liked  our visit to City Bird across the street.  Its prices and offerings were more in line with our style.

Fox Theatre

     A trip further downtown toward the river brought us into more congestion that was actually a pleasure to confront.  Everyone seemed to be drawn to Ford Field, and for good reason.  Luke Bryan was performing at the outdoor stadium, which seemed to be a risky premise for the end of October.  Finally, we had found the heart of the city and it was beating heavily.

Dinner at Polish VIllage Cafe in Hamtramck

     From our trusty dining guide, we found the Polish area of the city—Hamtramck.  Virtually a city within a city, it was a working class area with a vibe.  Following the crowd to the downstairs Polish Village Cafe, we joined the line forming for a table.  The wait was much longer than indicated, but the experience was purely cultural with locals speaking Polish and Hungarian.  We were definitely not in a tourist spot.

30 Americans at Detroit Institute of Arts

Very impressive and coming to Cincinnati

30 Americans Exhibit Featuring
MickaleneThomas and Kehinde Wiley

     We went to Detroit in a gloomy October because we wanted to visit the Detroit Institute of Arts to see 30 Americans.  It was also a way to preview a major exhibit that will travel to Cincinnati next year.  The Rubell family has put the collection together over the past four decades and it’s been exhibited at a couple of other museums over the past few years.  All the artists are black, but each displays an individual style and subject matter.  

Sleep by Kehinde Wiley

     All deserve attention and discussion.  I’ll focus on a few of them.  The pièce de resistance has to be anything by Kehinde Wiley and he’s well represented here by a smaller triptych as well as two other heroic pieces.  Sleep (acquired 2007) is 11 x 25 feet, both breathtaking and intriguing because of its almost completely smooth surface. Wiley’s portrayal of young black

Detail of Sleep

men in Flemish, Baroque, and Neo-Classical settings points up both the necessity for inclusion, but also a primary method to make the art crowd actually look.  It helps that they’re extraordinarily beautiful.

Detail of Portraits of Quanikah
by Mickalene Thomas

     Mickalene Thomas, a figurative painter I hadn’t encountered before, places women in somewhat confrontive positions referring to historic earlier works as well as head shot poses that are about identity and self-empowerment.  The flatness of the figures’ palettes (achieved with acrylic and enamel) is offset by wild fabric patterns on the clothing and furniture and the rhinestones she uses as a focal point.  

Camptown Ladies by Kara Walker

     Kara Walker, who works in enormous paper silhouettes of images based on 19th century photos, engravings, and even Br’er Rabbit stories, shocks me once I really take in what’s happening in her visual epics.  Sculptor Nick Cave presents

Soundsuit
by Nick Cave

contemporary mythic liminal figures that are playful, sexy, and somehow unsettling.  Having seen their work in other venues, I have to say that their presence in this exhibition broadened political and visual literary boundaries provocatively.  

Fast Eddie
by Barkley L. Hendricks

     I saw a couple of Barkley L. Hendricks’ realistic portraits back in college in the 1980s.  The works in this collection are from that period even though he has continued painting and teaching, but the effect felt like time freezing.  He’s a precursor to both Wiley and Thomas in presenting proud, naturalistically rendered male figures dressed and nude.  On the other hand, Jean-Michel Basquiat combined lettering with childlike imagery on heavily brush-stroked backgrounds; they’re almost like impasto.  Because of how the work was shown, I was able to come away with a new appreciation for his art, even though I don’t like it.  

A Visitor Contemplates
Duck, Duck, Noose by Gary Simmons

     I could go on about each of the artists because all of them provoke thought and intrigue.  Figurative painting may dominate, but there is also sculpture, video, and conceptual pieces that are symbolic or abstract.  The audio (and visual) tour was the first time I’ve seen perspectives on specific works by the curatorial staff, the artists discussing with board members in what looked to be a green room, and high school students of various ethnicities.  All three groups had intelligent, original viewpoints.  The book of the exhibition was worth it and I look forward to seeing it again closer to home.

A Gallery of Black American Artworks

     The rest of the museum was unexpected.  For one thing, it’s enormous – the size of the Chicago Art Institute or the Museum of Modern Art.  We spent four plus hours there and covered the exhibition and the second floor.  There’s a very strong emphasis on black American artists from the 18th century through the present, including Robert Colescott, one of the 30 Americans.  

The Atrium with Diego Rivera's Murals

     The justly celebrated crown jewel of the museum is Diego Rivera’s Detroit Industry (1932 – 1933), twenty-seven fresco panels that surround an inner atrium.  They speak of factory workers and capitalist bosses, the developing airline industry and pre-Columbian agrarian culture.  It’s a place to stand and stare.  However, there was also a group dancing performance to celebrate the Day of the Dead.  It’s certainly a museum I would visit again.

dia.org

Cleveland Shows "The Garden in Modern Art: Monet to Matisse"

A range of styles and movements cover a seminal period in Western art

The Cleveland Museum of Art Atrium

     We hadn’t been to The Cleveland Museum of Art since 2006 when the addition was begun.  It’s added an enormous wing and a stupendous atrium, which had formerly been a large courtyard.  The blend of styles is seamless and it’s been a way to maintain Cleveland as a pre-eminent American art museum.  Both Sister Wendy and Robert Hughes visited Cleveland for their TV documentary series.  The Garden in Modern Art:  Monet to Matisse makes only one North American stop, which should be a major attraction for the museum.

Monet's 3-Panel Agapanthus

     The Garden in Modern Art begins with works from the 1860s and concludes in the 1920s, though there is a later Matisse from 1940 that comments on his (and the other artists’) earlier work.  The major Impressionists (Monet, Renoir, Pissaro, later Manet) and Post-Impressionists (Cézanne, Gauguin, Bonnard, who seemed like a neo-impressionist) are presented as well as other leading artists and art movements of that era.  There are 150 paintings and many of them are immediately recognizable.  The penultimate room features a collection of Monet’s water lilies that reminded me of L’Orangérie in Paris and our friend Cindy of a gallery in the Pittsburgh Museum of Art.   Although I had a sense that there’s Monet and then everyone else, there are surprising works by artists that aren’t usually included in wall calendars.

Louis Comfort Tiffany by Joaquin Sorolla

     I’d never seen Joaquin Sorolla’s work before; Cindy had, but only in books.  His portraits of his wife Clothilde and Louis Comfort Tiffany feature the sitters in gardens, but the palette features shades of white with pops of color emanating from the faces.  It’s in a naturalistic style, but suggests a fresher approach influenced by the Impressionists.  John Singer Sargent moved from a romantic naturalism to an overlay of impressionism and then to symbolism.  Henri Le Sidaner, one of Proust’s favorite artists, actually was a Symbolist and his outdoor winter scenes showing only white and gray vibrate with interior warmth.  There was also Santiago Rusiñol,

Santiago Rusiñol

one of the Els Quatre Gats, who utilized jewel tones and stark lighting to off set the subject matter.  His gardens represent the end of Spain’s era as a world power.

     The only drawback about this exhibition is that is ends the beginning of January.  It’s worth the trip to Cleveland.  The museum also features extensive collections of Asian art as well as 20th century American and European works.

Gray and Gold by john Rogers Cox

The Garden in Modern Art:  Monet to Matisse runs through January 5, 2016.

clevelandart.org/events/exhibitions/painting-modern-garden-monet-matisse

72 hours in Nashville: Days One and Two

Bubbling with personality 

and background music everywhere

DAY ONE

      We've made a few trips to Nashville, finding it a vibrant city with a variety of entertainment opportunities.  On our latest venture, six of us headed out on a Friday morning in a VW van.  Dining is an important part of our entertainment, so our first stop was at a favorite for lunch, Chefs Market & Catering in Goodletsville just north of the city.  It's a cafeteria with a fine dining slant and some very interesting side dishes.  Our "home" was the Residence Inn at Cool Springs about 20 minutes from downtown.  It's a convenient location if you're planning to visit some of the tourist areas south of the city, as we were.

Opryland Hotel

      Of course, any visit to Nashville is not authenticated unless you plan to see the Grand Ole Opry.  It's been at its current location adjacent to the Opryland Hotel since 1971.  We arrived early to take a look around the hotel.  It's a short walk from the Opry House and the parking is free on that side of the complex.  Otherwise, you're looking at a $25 per car parking fee just to see the hotel interior.  

Waterfalls in the Delta

That said, the charge is worth it when you consider the magnificent structures and landscaping.  A stroll through the Cascades and Garden Conservatory passes by numerous waterfalls and seasonal floral displays culminating in the Delta with more restaurants and shops.  

The Boat Ride

There's also a boat ride that everyone should take once, and that's all you'll need to do.  We've never stayed there, but I'm sure the experience is well worth it.  

Grand Ole Opry

The Opry House is an experience in itself.  Although there is always a line up of acts, one never knows who will show up for the live broadcast.  That surprise came from the appearance of Chris Jansen on our latest visit.  We think he has the makings to become a big star.  The audience also felt so because they gave him two standing ovations, something usually only reserved for iconic country stars.

DAY TWO

Entering the
Johnny Cash Museum

      Our first stop was at the Johnny Cash Museum located in an old downtown warehouse.  It has won several top awards for museum design and content so I was really looking forward to seeing what all the hoopla was about.  My first impression was that the space was way too small, creating a bottleneck in the first viewing room.  Granted, there is a lot of memorabilia pertaining to the early Cash years that later expands when entering subsequent rooms exhibiting lavish costumes, records, and family values.  

Wall of Recordings

I particularly liked the long hall displaying his record covers and 45s.  It all culminates in the final room leading to Johnny 

Cash Family Timeline

Cash's accomplishments, one of which is that he is the only artist to have songs on the Billboard charts for six decades.  It's a museum befitting such an amazing entertainer.

All Day Entertainment Along Broadway

      Music Row (Broadway) has seen some changes in the past few years.  Walking up from the museum, there are several bars with live entertainment throughout the day.  We stopped in Ernest Tubb's Record Store only to find it desolate with very few CDs.  What happened?  Perhaps it was a sad sign of the times that have passed with iTunes and MP3 downloads.  

Bridgestone Arena

      Lori, Eric and I walked further past the Bridgestone Arena and on to the Country Music Hall of Fame and the flowing architectural lines of the Music City Center, host to the  

Music City Center

CMA Fest. A little backtracking to Broadway brought us to Jacks Bar-B-Que, an institution among visitors and locals that can be attested to by the line formed outside the entrance.  There was a large birthday celebration during our visit that was causing a backup in seating. Otherwise, the line moved fairly fast.

Ryman Auditorium

      Taking a right coming out of Jack's took us to Tootsies, another familiar spot for enjoying new acts and veteran performers that will sometimes come out the backdoor from the Ryman and play a few rounds before calling it a night.  Like so many places, one just never knows who they will run into.  Take a stroll around the corner to have a look at Ryman Auditorium, the original home the the Grand Ole Opry.

      Leaving Broadway, we took a little driving tour of downtown passing AT&T's "Batman" building and the Tennessee Capital sitting atop the city skyline.  Driving further west on Broadway, we took a short trek through Vanderbilt University and then Centennial Park, which is the home to the Parthenon, a reproduction of the original in Athens.  From there we drove through Belle Meade, one of Nashville's grander neighborhoods with many older mansions.  If you have the time, Cheekwood is a wonderful place to visit.  It's the former home of the founders of Maxwell House coffee, which is now an art museum and botanical gardens.  Both are exquisite.  

Bluebird Cafe

Onward, we made our way to the Bluebird Cafe made famous in the Nashville series.  It was closed for a private party, but none-the-less a popular selfie and photo spot.

     After a refresher at our hotel, we moved on to dinner at Marché in East Nashville.  It's a local hangout that serves some of the best (and inexpensive) European cuisine you'll find anywhere.  

    Our night was capped off at the Loser's Lounge in Cool Springs that would be our music fix for the evening.  Forty-five minutes after the published time for the music to begin, we were still waiting for the band to "check, check".  Finally, the lead female singer (trying to channel Stevie Nicks or Kim Carnes) took the stage.  We stomached three songs and called it a night.  For us, the place couldn't have been more appropriately named.