Here - Art Therapy Studio

Here - Art Therapy Studio

TABLE OF CONTENTS:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::Shaping Ohio’s CommunitiesThrough the Arts Culturally,Educationally and Economically.Welcome to CAN Journal. ................................. 4by Michael GillLegation, A Gallery. ...................................... 21A Marriage of Art and Music, by Jean Brandt1point618 Gallery. ......................................... 5The Golden Rule in Gordon Square, by Mary Kay DeGrandisMorgan Art of Papermaking Conservatory. .............. 22Morgan Conservatory Occupies Cleveland, by Lane CooperArts Collinwood. ........................................... 6Putting the Arts in Collinwood, by Ann AlbanoOrange Art Center. ....................................... 23Nestled (and Growing) in the Woods, by Amy CraftThe only site you need for artsand cultural events in Ohio.Visit to search for thousandsof performances, events, festivals andexhibitions that are sure to move you.Ohio Arts CouncilRhodes State Office Tower30 E. Broad St., 33rd FloorColumbus, OH 43215-3414Phone: 614/466-2613Fax: 614/ is acollaboration between• Experience Columbus• Positively Cleveland• Cincinnati USA RTN• Ohio Arts CouncilCUYAHOGA ARTS & CULTURE IS PROUD TO SUPPORTARTS COLLINWOOD • ART HOUSE • ART THERAPY STUDIOS • BAYARTS • CLEVELAND ARTISTS FOUNDATION •CLEVELAND INSTITUTE OF ART • LANDSTUDIO • HEIGHTS ARTS • ORANGE ART CENTER • THE SCULPTURECENTER • SPACES • ZYGOTE PRESSArt House. ................................................. 7Key Neighborhood Asset, by Deborah PinterArtSpace Cleveland. ...................................... 8ArtSpace: The Evolving Frontier, by Michael GillArt Therapy Studios. ....................................... 9The Healing Process, by Cheryl CarterThe Print Club of Cleveland. .............................. 24Intimate Contact, by Beth WhalleyProximity. ................................................. 25Cleveland is in Proximity, by Robert MaschkeRed Dot Project. .......................................... 26Playing the Part of Theo, by Peggy SpaethWWW.CACGRANTS.ORG 216 515 8303Bay Arts. .................................................. 10Busy in Bay, by Christy GrayRiver Gallery. ............................................. 27A Compelling Combination, by Mark YasenchackTHANK YOUCollective Arts Network Journal is published by Zygote Press and the members of the Collective Arts Network, whose participation makes CAN Journal possible.CAN Journal was conceived and launched by Liz Maugans, Executive Director of Zygote Press in the interest of mutual and cooperative self-support for the region’smany visual arts organizations. Thanks to the Ohio Arts Council for start-up funds. Thanks also to Cleveland City Councilman Joe Cimperman, whose assistancewas invaluable. The first issue is published in an edition of 10,000. Copies are available at member organizations.Brandt Gallery. ........................................... 11Going Solo, by Christopher LynnCity Artists at Work. ....................................... 12At Work in the City, by Vince ReddyCleveland Artists Foundation. ............................ 13For the Record, by Hilary AurandCleveland Arts Prize ...................................... 14Honoring the Past, Informing the Future, by Michael GillCleveland Institute of Art Visiting Artist Program. ......... 15by William BustaConvivium33. ............................................. 16Feast Your Eyes, by Gina DeSantisScrew Factory Artists. ..................................... 28Not Screwing Around, by Ross LeskoSculpture Center. .........................................29Site Specific, by Liz MaugansSPACES. ...................................................30It’s About the Ride, by Nancy HeatonWilliam Busta Gallery. .................................... 31More of the Same, by Alenka BankoZygote Press .............................................. 32Pressed into Action, by Karen PetersonSomething Is Happening Here. ...........................34by Douglas Max Utter1point618 GalleryArts CollinwoodArt HouseArtSpace ClevelandArt Therapy StudioBay ArtsBrandt GalleryCity Artists at WorkCleveland ArtistsFoundationCleveland Arts PrizeCleveland Institute of ArtVisiting Artist programCleveland Public ArtConvivium 33Heights ArtsKokoon Arts GalleryKenneth Paul Lesko GalleryScrew Factory ArtistsMorgan Art ofPapermakingConservatoryOrange Art CenterPrint Club of ClevelandProximityRed Dot ProjectRiver GalleryThe Sculpture CenterSPACESWilliam Busta GalleryZygote PressHeights Arts. .............................................. 17A Village in the Heights, by Michael GillKenneth Paul Lesko. ...................................... 18The Road Show Comes Home, by Susan KellyKokoon Arts Gallery ...................................... 19Out of the Kokoon, by Michael GillMapping CAN Journal Galleries and Organizations ..... 39:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::CAN Journal • 1410 East 30th Street, Cleveland, Ohio 44114 • 216.621.2900PublisherEditorDesignerLiz MaugansMichael GillJoAnn DickeyLAND Studio / Cleveland Public Art ......................20The Art of Public Spaces, by Harriet Gould

ARTS COLLINwOODart housePUTTING THE ARTS IN COLLINWOODThe neighborhood nonprofit Northeast Shores DevelopmentCorporation energetically promotes the Waterloo Arts District.Cooperating with the Community Partnership for the Arts andCulture, and with a $500,000 grant from the Kresge Foundation,the group encourages the sale of houses to artists—thereby helpingthose artists actually make a living right where they live.From the synergy of Arts Collinwood and the highly-respected livemusic venue, the Beachland Ballroom, businesses keep poppingup along Waterloo Road. You’ll find a Rock and Roll culture oftattoos, vintage clothing, vintage records, and vintage toys and otherunexpected, temporary pop ups of all sorts that keeps going late intothe night and on Sundays. Waterloo will meet your quota of “artsin the raw.”Urban culture tourists and music lovers from all over the countryhave heard about the remarkable revitalization of this neighborhoodand are coming to experience it for themselves. Once a Slovenianenclave North Collinwood is now home to many AfricanAmericans and recently (or not) transplanted artists of all racesand socioeconomic backgrounds. To get there from downtownCleveland, you just take a leisurely drive along the lake: TakeLakeshore Boulevard through the magnificent neighborhood ofBratenahl, or hop on Route 90 West and get off at East 152nd St.The Waterloo Arts District’s promoters say, “It’s just 10 minutesfrom anywhere.”Arts Collinwood was founded in 2002 by Nan and Miles Kennedyand their daughter Sarah Gyorki. It’s current executive director isCheryl Carter, an artist with a long history of nonprofit experiencewho was a co-founder of Art House. Everyone involved withBy Ann AlbanoCleveland’s easternmost destination for the arts is the gritty, “rust-belt-and-we-like-it-that-way” Waterloo Arts District,in North Collinwood. The district has been cobbled together and pushed forward by its own stakeholders, includingresident artists, the Beachland Ballroom, and Arts Collinwood.Arts Collinwood lives the belief that the arts can revitalize aneighborhood and be an economic engine for change.Arts Collinwood makes pluralism an art form in itself. With itsArt Gallery, Café and Art Center, and by organizing arts-centeredneighborhood events, the organization serves as the district’sinformal welcome center and hub for all who are interestedin the arts. Especially serving artists who want to settle in theneighborhood, it provides access to a wide variety of media, frompoetry, to visual arts, music and film.Visitors can grab a bite and a beer, linger over a newspaper, andmeet the regulars at Arts Collinwood’s unique Café. The Caféwas purchased by Arts Collinwood in 2010 to help fund theirarts programs, provide a gathering place for art enthusiasts, andencourage neighborhood involvement. Exhibitions are curatedby a group of well-known local artists and educators, fromwork submitted largely by Northeast Ohio artists. All artists,from anywhere, however, are welcome to apply to be includedin exhibits. You can find the procedure on their website. TheGallery shows traditional media—painting, print making, andphotography—as well as highly experimental, 3-D installations,and sculptures. The gallery’s goal is to exhibit work that isengaging and thought-provoking.On an evening visit to the Café and Gallery, you are likely to be ableto listen to a poetry reading, an artist or writer’s talk, or music thatranges anywhere from classical chamber to blues. You might watch aseasonally themed movie, or just enjoy a glass of wine. In the springand summer, there’ll be al fresco dining with entertainment on anew patio. And of course, there’s art. The patio will be enlivened bycolorful decorative tiles designed by local ceramic artist AngelicaPozo, along with Collinwood neighborhood kids and seniors.Special events abound year-round at Arts Collinwood. In the pringthe Arts Collinwood Gallery hosts the National Public Art Show,featuring works by Cleveland artists of all ages and skill levels.On the last Saturday of June, don’t miss the Waterloo Arts Fest, asurging street fair with 20 bands, 40 art vendors, and an interactivekids’ area. In the fall, the Ohio Independent Film Festival packs anold bank building up the street with a pop-up show of more than20 independent artists’ video screenings. Finally, in December, ArtsCollinwood turns itself into a boutique of craft and art for its annualHoliday Art Sale.In addition to providing arts programs and events, Arts Collinwoodpartners with the City of Cleveland and the neighborhood schoolsto bring the arts to residents, including children. There are AfterSchool and Teen Programs, and a summer drama camp. ArtsCollinwood also has eight artists’ studios for rent on the second floorof its multi-use building. For your special events, you can rent spacein the café, the Gallery, and or the Nan and Miles Kennedy ArtCenter. All that together makes Arts Collinwood one of the mostversatile centers in Cleveland.Ann Albano is Executive Director and Chief Curator at theSculpture CenterKEY NEIGHBORHOOD ASSET By Deborah Pinterart house builds community and creativity in brooklyn centerArt House is a grassroots art center founded by local residents and artists who believed the arts and culture improvecommunities. They joined forces and established the organization in 1999, incorporated as a non-profit organizationthe following year, and in November 2001, the physical facility now known as Art House—a 3,000 square-foot Quonsetbuilding in the historic Brooklyn Centre neighborhood on the west side of Cleveland—was born.I sat down with Art House’s executive director, Amy Craft, todiscuss their current programs, partnerships, audiences, and what isin the future for this twelve year old grassroots organization.True to the motives that launched the organization, Art House is allabout the neighborhood. Programs are designed to serve the peoplewho live there—especially the children. And when you walk into thebuilding, you can see the evidence all around you.We began our discussion by talking about the Urban Bright Arts-in-Education Program. This award-winning artist-in-residency programbegan at nearby Denison Elementary, but has grown to serve otherCMSD schools. The focus of the residencies is to provide students,grades 4-12, with meaningful, hands-on arts opportunities andexposure to local artists, methods, and materials. This grant-fundedprogram allows students the opportunity to work as a team in anartistic environment. The experience cumulates with a year-endexhibition in late spring.Next, she told me about StudioGo, a fee-based program offeringoffsite classes and workshops to groups, organizations and schools ina range of media. Popular classes have included clay, printmaking,mixed media, murals, and enameling. StudioGo also providesactivities for festivals and special thematic art events. The ArtHouse staff is working with a corporate client, Willoughby-basedNeundorfer Inc., to develop a team-building component to theStudioGo program.Then we discussed their newest program, Sippin’ in the Studio,which is designed for the adult interested in sitting back, relaxingand letting their creative juices flow while enjoying time with fellowart makers. Offered once a month, this program combines artmaking with a little wine tasting. Recognized Cleveland artists teachthese workshops in a variety of media. A continuing list of adultsclasses offered throughout the year compliment this program andinclude ceramics on the wheel, painting, mixed media, printmaking,and enameling.To keep such beneficial, neighborhood-oriented programs going,Art House depends on a network of partnerships and funders.Councilwoman, Merle Gordon, secured the initial capital funding.The Cleveland Foundation, The George Gund Foundation, and theOhio Arts Council were also key players in the beginning.Amy and the staff have continued to nurture many of thesepartnerships while adding a number of new and interestingcollaborations to their directory. For instance, Old BrooklynCommunity Development annually sponsors a number of eventsinvolving Art House, including Falloween, a favorite of childrenof all ages. Art House has also partnered with the Boys and GirlsClub, Arts and Science Preparatory Academy, and Bellaire-PuritasCommunity Development to establishe three successful afterschooloutreach programs. The Boys and Girls Club and the Arts andScience Preparatory Academy have been ongoing partnerships forthree years. Their most recent partnership, initiated last August, iswith the Brooklyn Center Naturalist (BCN). The BCN is facilitatingthe creation of a community dye garden on the Art House property.Art House will use the garden to teach students how to naturallycreate color from nature.We finished our discussion by talking about what is on the horizonfor the organization and how these supporters will be kept informedof Art House’s dynamic activities. Introduction of a new website inOctober 2011 will continue to be the organization’s main focus foron-line marketing and communication. Art House staff will alsocontinue, like most of us, to work on keeping their house in order.The primary focus in the coming year is to develop new partnershipsfor StudioGo and new programs for adults, especially patrons, whovisit from as far away as Mantua and Willoughby. Art House staffwill continue to offer art education programming for students ofthe Cleveland city schools, as well as outreach to the community.With the help of the Ohio Cultural Facilities Commission, capitalimprovements—such as a new floor and roof—will be a priority.Like all Executive Directors, Amy Craft’s work is never done. Itseems there are always ten more tasks she could complete beforewalking out the door. She and her staff work tirelessly to keep ArtHouse fun, creative and energetic. If you have never been to ArtHouse you are missing out on a wonderful opportunity to experiencea creative and vibrant neighborhood arts organization in the heart ofBrooklyn Centre.Deborah Pinter is executive director of the Orange Art Center.::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::Location 15605 Waterloo Road, ClevelandPhone 216.692.9500Web www.artscollinwood.orgEmail info@artscollinwood.orgFacebook Arts CollinwoodGALLERY HOURSThursday through Saturday, 11 a.m. – 11 p.m.MISSIONArts Collinwood believes that a flourishing artscommunity enriches a neighborhood’s quality of life,both economically and culturally. By partnering withlocal merchants, neighborhood associations, schoolsand artists, we encourage more artists to live and work inNorth Collinwood, and offer residents more opportunitiesto engage in the arts. Our goal is to support a stimulatingarts environment and to encourage continuingeducation in the arts by offering a wide variety of culturalactivities for residents of all ages.A BRIEF HISTORYFounded in 2002, Arts Collinwood strives to develop,support, and promote arts activities in the Collinwoodneighborhood of Cleveland by providing arts educationprograms, exhibits, performance opportunities andfacilities. We are committed to building a thriving artscommunity that nurtures individuals’ creative sensibilitiespage six : : : north east ohio collective arts network journaland talents, insures access to a broad range of art forms,and enhances the overall quality of life in our community.Thanks in part to our efforts, Collinwood has becomeone of the city’s most important arts districts, attractingartists, musicians, and arts enthusiasts to live, work, learn,and play in the neighborhood.Arts Collinwood was founded on the interest and needfor a strong visual arts organization in the neighborhood.Many of the region’s most accomplished paintersand other artists have exhibited there, including DanTranberg, Randall Tiedeman, Douglas Max Utter, TimCallaghan, Mark Keffer, and Harvey Pekar’s AmericanSplendor collaborators, Laura and Gary Dumm. In itsshows, Arts Collinwood emphasizes craftsmanship, andwork that challenges the viewer to see the world in anew and original way.UPCOMING SHOWSJanuary 12-26, 2012Designs for The United Way and the Rock and Roll Hallof Fame’s Guitar Mania.Open to the public starting January 13th.February Black History Month showVan Monroe, local artist whose portrait of Barack Obamaon sneakers is in the Smithsonian Institution.Photo: arts collinwoodArts Collinwood gallery.The kids in the neighborhood.Photo: Art houseLocation 3119 Denison Avenue, ClevelandPhone 216.398.8556Web www.arthouseinc.orgEmail acraft@arthouseinc.orgFacebook Art HouseGALLERY HOURSOffice hours: Tuesday – Friday 10:00 a.m. – 4 p.m.MISSIONOur mission is to nurture involvement in arts and culture,providing opportunities for people to create, learn andcommunicate ideas while encouraging self-expression,thereby strengthening the community. Our purpose isto provide high quality visual and creative arts classesfor people of all ages and skill levels. Our goal is toenrich the lives of those who live in our community, toencourage and strengthen the careers of local artistsand to promote learning through the arts.A BRIEF HISTORYArt House Inc. was founded in 1999 by a group of localartists and residents dedicated to the belief that the artsenrich lives and create better communities. As a catalystfor neighborhood development, the organizationwas supported by councilwoman Merle Gordon whoprovided the funds to renovate its permanent home, a1948 Quonset Hut. Art House’s founding director, SherylHoffman and founding board of director’s establishedthe mission which remains the organization’s guide. Bestknown for its quality art education programs and classes,particularly in clay, Art House serves its neighborhood byoffering free programs and events, fee-based programs,teaching opportunities for artist, and communityoutreach throughout Cleveland.UPCOMING EVENTSUrban Bright Year End ExhibitionThursday, May 17 through Friday, June 1, 2012Sippin’ in the Studio4th Thursday of each monthFamily Open Studio3rd Saturday of each monthFreenorth east ohio collective arts network journal : : : page seven

ART Space clevelandart therapy studioARTSPACE: THE EVOLVING FRONTIER By Michael Gillconnecting artists to live-work space across the decadesWith the recent attention paid to arts districts, it’s easy to forget that the dynamic of artists moving into inexpensivespace and revitalizing it has been going on for a long time.Bill Gould and Harriet Gould, co-founders of ArtSpace Cleveland,can give some perspective. Just over a decade ago, Bill Gould—anarchitect and planner—worked with councilman Joe Cimpermanto do something that sounds boring, but which has deep impact onCleveland’s appeal to artists—especially those who would like totap into the rust belt’s famous industrial-scale space. In 2001, theGoulds and the councilman created the “Live-Work overlay” to thecity’s zoning code. The legislation allows artists to live and workwithin specified boundaries in the industrial buildings on thenear-east side.The zoning code generally prohibits living in buildings zoned forindustrial use. Thanks to that legislation, however, artists have beenallowed to live and work in the former factories and warehousesalong certain defined corridors. The area includes St. Clair, Superior,and Payne avenues between East 18th east and E. 64th streets, plusEast 30th, 40th, 49th, and 55th Streets.Bill Gould’s efforts to connect artists to appropriate space goesback much farther than that. In 1963 he was retained by theMusical Arts Association to find a bucolic, bowl-shaped naturalsetting for the construction of a summer home for the ClevelandOrchestra: The result: the Cuyahoga Falls location that becameBlossom Music Center.But in the seventies, it was the urban landscape that held hisattention. As Bill Gould describes, buildings in Cleveland’sWarehouse District were being burnt down, or torn down then, tobe replace by parking lots. The loss of architectural history was amajor blow to the city’s infrastructure. The Warehouse District is theoldest part of the city.As Harriet Gould says, “the destruction was stopped” whenGould and Associates was hired by the City with funding fromthe National Endowment for the Arts to encourage artists to findhousing there. They succeeded, attracting the likes of Stephen B.Smith, Laszlo Gyorki, and Ken Nevadomi, among others. SPACESGallery was there at the time.But the live-work zoning had not yet been written, which meant,as Gould says, that the artists were living there illegally. “Thiswas discovered, so they were kicked out.” Developers then beganconverting the warehouse space to residential apartments, whichwere too expensive for most artists. As Gould observes, it was thesame story in New York’s SOHO, and in San Francisco, and othercities around the country.Harriet Gould says her husband “ruminated about this,” and in2001 he approached the Greater Cleveland Partnership (then calledthe Growth Association) with a proposal to help revitalize a differentneighborhood—the industrial corridors of the near east side. Theplan was to make live-work space legal in a neighborhood withbuildings that had large spaces and other qualities –vestiges of theirindustrial past—that appeal to artists. That year, the GCP becamethe fiscal agent and a partner with ArtSpace Cleveland in the effortto connect artists to affordable, live work space in specific industrialneighborhoods of the city.They work with what they call “sympathetic landlords”—acollection of building owners who are interested in filling their spaceby leasing it to artists at an affordable rate. Gould says they fieldabout a dozen inquiries per month from people looking for space.Gould says they help artists find the kind of industrial space that’sunavailable in the region’s other, more residential and retail-orientedarts districts. In 2008, ArtSpace-Cleveland expanded its missionto include an Artist Ownership Initiative. The yearly activities theypursue are a newsletter and an annual tour of the spaces.The Goulds exemplify the lifestyle they promote. They live and workin a 6000 square foot space in a four story mixed use building thathouses artists and businesses, including Tastebuds and Zygote Press.Michael Gill is editor of CAN Journal.THE HEALING PROCESS By Cheryl Carterart therapy studio provides support, enables expressionThe founders of Art Therapy Studio came to the same place from different directions. One was a doctor. One wasan artist. What they both knew was that the practice of making art could provide a therapeutic outlet for patientswith a need to express themselves, to cope, or simply to relax.Art Therapy Studio was founded in 1967 by George Streeter, M.D.(a doctor with Tuberculosis) and Mickie McGraw (an art therapistwith polio). They wanted to help others to cope with their seriousillnesses in a creative and therapeutic manner. So Art TherapyStudio was born. Since then, the organization has grown to includeprograms led by Art Therapy professionals both at four studiolocations, and out in the community. The clients are encouragedto feel free to choose their artistic path and enjoy a relaxingenvironment either in a group setting or individually.Serving individuals with a variety of special needs, Art TherapyStudio in Cleveland provides unique opportunities through artisticexpression. Executive director Karen B. Peterson, MA, gave me aguided tour of the facility housed in the Fairhill Partners Building.Beautiful paintings, drawings and pottery lined the gallery on theway to the adjoining studios and offices. Each work of art had astory that gave the viewer insight into the work Art Therapy Studiodoes and the unique challenges faced by the artist who created it.Art Therapy Studio provides a way for people of all ages to come toterms with their various disabilities, emotional struggles and seriousillnesses. All of those situations come with a need for courage manyof us may never know.Art Therapy Studio offers a place of understanding, professionalexpertise in both art and therapeutic counseling as well as a “homeaway from home” where the clients can express themselves throughartistic medium including painting, drawing, collage and pottery.The statement on Art Therapy Studio’s website sums it up: “Overthe years, we have identified ways that art uniquely answers people’sneeds. In a creative, supportive, activity-based environment, artprovides an alternative outlet for feelings and ideas. The process andimages speak for us when words are not enough.”Art Therapy Studio serves approximately 1,800 people annuallyand holds special event fundraisers such as the Dessert Competitionto be held in the fall of 2012. Sponsors and individuals are able totaste and judge a variety of delectable creations all while financiallysupporting the work of the studio.In addition to programs and classes, Art Therapy Studio alsooffers professional development workshops and employee wellnessprograms. Enhancing the lives of both children and adults who mustface the struggles that accompany special needs, Art Therapy Studiouses art as a valuable, life changing tool unlike many art centers.They are a valuable resource for the Cleveland-area community.Cheryl Carter is executive director of Arts Collinwood::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::Location 12200 Fairhill Road, ClevelandPhone 216.791.9303Web www.arttherapystudio.orgEmail info@arttherapystudio.orgexpanded to include community programming to servepatients after their release from the hospital, recognizingthat people need a touchstone after release—a place tocontinue to have social interaction and learn new skills.Location 1400 East 30th Street, 4th Floor, ClevelandPhone 216.241.4355Fax 216.241.5052Web www.artspacecleveland.comEmail gouldloft@sbcglobal.netFacebook ArtSpace-ClevelandMISSIONArtSpace-Cleveland helps artists find spaces to liveand work. Toward that end, the organization publishesa quarterly newsletter; meets monthly with artists, nonprofitorganizations, and building owners; researcheszoning and building codes to facilitate affordable spacedevelopment; maintains a database and website;provides building owners with information on the needsof artists; and conducts an annual trolley tour of artistlive-work studios.A BRIEF HISTORYFounded in 2001 with the support of the GreaterCleveland Partnership, ArtSpace-Cleveland foundersBill Gould and Harriet Gould played a key role in thecreation of a Live-Work Zoning overlay for industrialcorridors on Cleveland’s near east side. Long committedto connecting artists to live-work space, in 2008 theylaunched an Artist Ownership initiative, whith the goalof helping artists build equity and develop long-term,stable presence in their eight : : : north east ohio collective arts network journalArtSpace-Cleveland works in partnership with TheGreater Cleveland Partnership, the St. Clair SuperiorCommunity Development Corporation, DominionEast Ohio, the Cuyahoga Community Land Trust, theCouncil of Small Enterprises (COSE) Arts Network, andthe Community Partnership for Arts and Culture. Fundingcomes from block grants and corporate contributions.Sponsors include the City of Cleveland, Forest CityEnterprises and the Ohio Arts Council. ArtSpaceCleveland welcomes new members.Photo: michael Gill1400 East 30th Street, Cleveland.The power of expression.Photo: Art therapy studioGALLERY HOURSFairhill Studio: 10 a.m.–5 p.m. Monday–FridayMISSIONArt Therapy Studio is a non-profit organization thatprovides therapeutic art programs for individualsand agencies throughout the greater Cleveland. Ourprograms are designed to improve and enhance thephysical, mental, and emotional well-being of individualsand are based on the philosophy that art making iscentral to growth, healing, and wellness. Credentialedart therapists trained in counseling as well as fine artinvite, guide, and encourage individuals to rediscoverthemselves through the art-making process. Theemphasis is on the process of creating art, and controlis left in the hands of the artist. Individuals with physical,emotional, or cognitive special needs often find arttherapy to be a very rewarding avenue of expression.A BRIEF HISTORYFounded in 1967, Art Therapy Studio was established incollaboration with Highland View Rehabilitation Hospital,now MetroHealth Medical Center, as a creative artsprogram to help patients and their families cope with thelife-changing effects of trauma, chronic illness, medicaltreatment, and permanent disability. The studio wasa place to congregate, relax, and be involved in thecreative process. In 1977 Art Therapy Studio’s missionToday Art Therapy Studio offers weekly “Discover theArtist Within You” classes at four community studios—two on the east side, two on the west side—for anyonewho has special needs, is seeking wellness, or is simplyinterested in learning about art in a supportive setting.The organization also provides inpatient hospital services,on-site programs for community agencies, professionaleducation workshops, and employee wellness programs.UPCOMING EVENTSArt Therapy Studio Staff Art ShowFairhill Studio (12200 Fairhill Road, Cleveland, OH 44120)January - April 2012Opening Reception – Wednesday, January 25, 5-7 pmUrsuline “Discover the Artist Within You” Art ShowUrsuline ArtSpace Studio (Ursuline College, 2600 LanderRoad, Pepper Pike, OH 44124)February - April 2012Opening Reception – Sunday, February 12, 1-3 pmSummer Client Art ShowFairhill Studio (12200 Fairhill Road, Cleveland, OH 44120)May – August 2012Fall Client Art ShowFairhill Studio (12200 Fairhill Road, Cleveland, OH 44120)September - December 2012north east ohio collective arts network journal : : : page nine

ay artsbrandt galleryBUSY IN BAY By Christy Graybay arts growing and evolvingBAYarts lore includes the caboose of a railroad train, and an old house floated along the Lake Erie shore on a barge.But the arts center is much more than a collection of structures or bits of history. It’s part gallery, classroom, concertvenue, store, coffee shop and meeting place. It is a place to look at art, learn about art, listen to live music, meetfriends or enjoy a bit of solitude in the creative gardens. BAYarts is all these things and much, much more.Located in Cleveland Metroparks with views of Lake Erie,BAYarts is a community arts center, an informal meeting place forprofessional and aspiring artists and art appreciators alike. Locatedin the city of Bay Village, this is certainly a Westside destination.But it’s not exclusively about one community, or even the entire westside. The organization reaches an audience throughout NortheastOhio, including all ages to all types of artists.Arriving at BAYarts, you encounter the historic Huntington House;the renovated Irene Lawrence Fuller House with welcoming wraparoundporch (the one moved on the barge), the Station House, anda the aforementioned red caboose. Surrounded by the ever-changingtrees and the beautiful gardens, you will find yourself physicallyrelaxing as the staff welcomes you in the inviting space without anounce of intimidation.There are two gallery spaces, each with a distinctive role. The DianeBoldman Education Gallery features the work of students andfaculty that participate and teach the classes. The Sullivan FamilyGallery represents the talents of artists throughout Northeast Ohio.Hosting two juried art shows and an emerging artist show each year,the monthly gallery openings are a mix of high quality work fromartists of this region.The education gallery is also a working classroom. BAYarts pridesitself on its diverse mix of classes ranging from ceramics andpainting to jewelry making and photography, with offerings forchildren and adults. The classes fill every room and keep the placehopping six days a week. Innovative summer camps, Girl Scoutprograms and home school curriculum are popular with families.The ceramics studio program is thriving. Currently, the studio islocated in an inherited space in the basement of the HuntingtonHouse. It is a functioning studio with a dedicated group of ceramicartists that participate in classes and curate an annual advancedceramics show each year. Through private funding, BAYarts willupgrade the ceramics studio beginning in 2012. This opportunitygives the staff and faculty a chance to create a pottery studio withcareful consideration of how it should be built to best serve the artists.As a collaborative organization, BAYarts welcomes other groups formeeting space. Zygote Press and Kendal at Oberlin have had galleryshows here in the past. Upcoming shows include one of works by theOhio Watercolor Society.Located on Cleveland Metroparks property, BAYarts is an affiliateof the Metroparks. Rich in history, the BAYarts campus consistsof three buildings. The John Huntington House is the home of theconsignment shop, classrooms, The Diane Boldman Gallery, andadministrative offices. The Red Caboose is a community landmark,restored by a local scout troop. The Irene Lawrence Fuller House—floated westward on Lake Erie in 1984, and renovated in 2010—ishome to the Sullivan Family Gallery, Mojo’s coffee, classrooms andmeeting spaces available to rent for weddings or parties. The StationHouse is home to Vento, a casual dining restaurant with a greatpatio to catch the summer concerts. Huntington Playhouse andLake Erie Nature and Science Center—fellow Cleveland Metroparksaffiliates—are within walking distance.Free summer concerts showcase a variety of regional musicians;using the lawn and porch, musicians perform for an audiencearranged in folding chairs and picnic blankets with children chasingbubbles. You are just as likely to run into a neighbor as you are anartist or friend from Chagrin Falls or Cleveland Heights. An annualArt and Music Festival provides an affordable alternative for artiststo sell their work; and the annual fall Moondance benefit has beenlabeled the west side’s “Party of the Year,” attracting hundreds ofsupporters for a great time under the stars.BAYarts is part gallery, classroom, concert venue, store, coffee shopand meeting place. A comfortable place to see, learn or discoversomething new and fresh.Christy Gray is project director for the Red Dot Project.GOING SOLO By Christopher LynnBrandt Gallery focuses on individual artists, one at a timeArtists spread like water—covering surfaces and seeking nooks to fill with their volume. As venues come and go,artists continue to spread to find new locations to fill.In 1990, Jean Brandt relocated her legal practice from the Leaderbuilding downtown to an office space on Kenilworth in Tremont.When faced with the dilemma of interior decorating, it wassuggested to her that it may be easier and cheaper to just rotateartwork through her office rather than purchasing work outright.Little did she know how rewardingly wrong that advice was and theimpending flood that was coming.At the time, Jean saw the Cleveland art scene as insular and closed—with artists in competition for exhibition platforms. She realizedthat if people were that defensive about space, there was probably alack of space. She mustered up her energy and buckled down to theidea of using her office as a gallery.When she deliberated about which artist to show first in her newoffice, Jean recalled the intriguing work of Terry Durst she saw oneyear prior in an exhibition at SPACES, which at the time was locatedin the warehouse district. So, on September 28, 1990, Durst’s OldeStuff became the Brandt Gallery’s first solo show. Since then, Jean’sspace has been filled with over 200 exhibitions and performances byartists who are drawn to her and her gallery.Jean’s focus has always been on solo shows. Her 400 square-footoffice is aptly sized for single-artist exhibitions, and she is ableto fill a niche in the art landscape that was so focused on groupexhibitions. A solo venue gives artists ample opportunity to seean idea to its end and display it for the public; group shows, incontrast, function more as samplers of the artists’ work, or theyplay more toward a curatorial concept. Brandt also wants to givean opportunity for younger artists to “cut their teeth” or moreestablished artists the chance to execute an idea that would workwell in her type of space.Since Brandt Gallery is not a non-profit nor is art sales herfocus (unlike a commercial gallery), her office provides a uniqueplatform to highlight work that would get overlooked by nonprofitsand commercial venues. Brandt is guided not by aesthetics,but by ethos—it’s about ideas and work by regional artists, not aparticular style. Although she does show work from artists outsideof the region, they often have ties to Northeast Ohio. The natureof the work in the Brandt Gallery varies widely from traditionalphotography to performance art and poetry.Brandt recalls fondly a performance by Nancy Prudic in August of2004, during which the artist’s piece was interrupted by four figuresin hazmat suits who tied her up and hauled her out of the galleryspace. The audience sat dumbfounded and kept looking to Brandtfor a reaction and guidance. After a while, Prudic returned to thegallery and informed the audience that her friend Steve Kurtz, aBuffalo-based artist and member of the Critical Art Ensemble, wassimilarly hauled away by the authorities on slim-to-no-evidence forsimply making his art. The figures in the hazmat suits were all partof the performance. Prudic wanted people to know what the risingparanoia in the United States had lead to, and she wanted to bring itcloser to home.By day, Jean Brandt is a mild-mannered (not really) lawyer, butat night she teams with other heroes: artists who are part of ourcommunity here in Cleveland, who are our neighbors, who arebuilding our social structure—to remind us of our humanity andgoodness.Christopher Lynn is executive director of SPACES.::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::Location 28795 Lake Road Bay VillagePhone 440.871.6543Web www.bayarts.netEmail info@bayarts.netFacebook BAYartsGALLERY HOURSSeptember – May: 9 a.m. to 5 p.m.Monday – Saturday; closed SundayJune – August: 9 a.m. – 5 p.m.Monday – Saturday; noon – 5 SundaysClosed major holidays; Open for Specialprograms on School HolidaysMISSIONThe mission of BAYarts is to provide awelcoming lakeside environment tostimulate, encourage and supportprofessional and aspiring artists of allages through collaboration, educationand exhibitionHISTORYBAYarts was founded in 1948 asBaycrafters, by a network of creativehomemakers who wanted to work onpage ten : : : north east ohio collective arts network journaltheir art in a community of other artists.Orginally located in the basement offounders, the organization moved toHuntington Reservation in ClevelandMetroparks. The John HuntingtonHouse was donated to the ClevelandMetroparks when they purchasedthe land in Bay Village. The housebecame—and remains—Baycraftershome. The organization took the nameBAYarts in 2007 to reflect a revitalizationthat had begun at the time. The StationHouse and Caboose were donated tothe organization and relocated to thecurrent site. In 1984 The Irene LawrenceFuller House (circa 1892) was donatedand made international news as it wasfloated on a barge along Lake Erie to itscurrent site. Renovation began in 2009,and the house opened in 2010.2012 HighlightsFebruaryEmerging Artists ShowMarch2012 Spring Juried Show andBAYarts Faculty ShowMayAnnual Ceramics ShowAnnual Education FundraiserJune – AugustSummer Outdoor Concert SeriesMusician inquiries: concerts@bayarts.netArtistic by Nature Art and Music FestivalJune 16Artists inquiries: eileen@bayarts.netSeptemberMoondance Annual Fall BenefitSeptember 15October50th Annual Juried ShowNovember – DecemberHoliday Consignment ShopArtist inquiries: Karen@bayarts.netMore information on these and otherevents: www.bayarts.netPhoto: bay craftersBay crafters grounds.Jean Brandt with works by Dana Depew.Photo: Steven MastroianniLocation 1028 Kenilworth, ClevelandPhone 216.621.1610Web www.brandtgallery.orgEmail jeanmbrandt@gmail.comFacebook Brandt-GalleryGALLERY HOURSSaturday: Noon – 6 p.m. (during exhibitions)other times by appointmentDuring the Tremont Artwalk: 6 – 10 p.m.(the second Friday of the month)A BRIEF HISTORYStarted by Jean Brandt in 1990 as a way to surround her400 square foot law office in art, the Brandt Gallery wasan early participant in the Tremont Artwalks and theneighborhood’s revitalization. After twenty-one years,the gallery is now one of Tremont’s longest-running artvenues.Among the artists exhibiting there are Laila Voss, PeterDell, Kathy Ireland Smith, Bruce Edwards, Daiv Whaley,Judith Brandon, Scott Pickering, Dana Depew, DanTranberg, Anastasia Pantsios, and Steven Mastroianni.In September, 2011, Steven Mastroianni and Dana Depewcoordinated a 21-year retrospective that spanned bothBrandt’s and Mastroianni’s galleries and included morethan 50 artists. In its history, Brandt Gallery has featuredmore than 200 exhibitions.In addition to art exhibitions, the gallery also hostspoetry readings at 3 p.m. on the second Saturday ofeach month. The readings are held by Cleveland poetRussel Vidrick.UPCOMING SHOWSJanuaryCleveland School artists from the collection of the ThalTrustFebruaryPaintings by Craig Martin, drawings by Jeff CurtisMarchNew work by Daiv Whaleynorth east ohio collective arts network journal : : : page eleven

city artists at workcleveland artists foundationAT WORK IN THE CITY By Vince Reddycity artists at work highlights artists’ presence in the neighborhoodFor most of its history, City Artists At Work has presented a signature annual event—a weekend-long opening of artists’studios to the public. The sessions differ from art walks or gallery hops in that, rather than only seeing collections offinished works of art, visitors see the places where art-making takes place, and sometimes get to see art-making inprogress. The organization—which is unincorporated, and runs without a formal governing board—is unusual in boththe grassroots, collective nature of its composition and its focus on artists working in a particular part of the city.Now in its 14th year, City Artists at Work serves artists based inCleveland’s Art Quarter, a district bounded approximately by LakeErie to the north, Prospect Avenue to the south, and East 18thand East 40th Streets to the east and west. The neighborhood isattractive to artists looking for studios due to the inexpensive spaceafforded by its collection of older loft buildings—many of whichhave roots in Cleveland’s once-immense garment industry.According to artist Bill Jean, one of the CAAW’s foundingmembers, the organization emerged around the time that theregional art and architecture-oriented New Organization for theVisual Arts (NOVA) was nearing the end of its run. Open-studioevents were also among NOVA’s offerings, but the events hadbecome scattered geographically. By limiting its scope to artistsworking in the relatively compact arts district that was emergingeast of downtown, City Artists At Work was able to offer a morenavigable tour for visitors and a steadier flow of traffic for the artistswho’d opened their studios.The first CAAW open-studio weekend took place in October 1997,with 27 artists participating. In that first year, all of the participatingstudios were in one of three buildings—the Heller, Artcraft, andShovelworks. The number of artists has grown over time, but not toan unmanageable degree. Neither have the CAAW events outgrowntheir original neighborhood. Still, the artists made adjustments overthe years to prevent the annual tradition from becoming stale—including the addition of a spring event one year, and switchingfrom a schedule that included Friday nights and Saturdays duringthe day to a Saturday-Sunday, daytime format.Mindy Tousley, another of CAAW’s founders, notes that, over theyears, the group has drawn upon the talents of its members (whichusually include 50 or so artists) to produce brochures and posters,as well as unique keepsake items that visitors were able to collect asthey moved from studio to studio.In October 2011, CAAW took a new approach. Instead of openingtheir studios to visitors, 32 artists participated in a show at theConvivium 33 Gallery on East 33rd Street. Members’ works wereselected by Cleveland Museum of Art associate curator of Americanpainting and sculpture, Mark Cole. More than 600 people attendedthe opening on a Friday evening, and the weekend continued withsimilarly well-attended workshops on acrylic painting, maskmaking,printmaking, and creative card design.CAAW’s neighborhood, which covers parts of many contiguousand overlapping districts (including Midtown, the Campus District,St. Clair-Superior, and Asiatown), is in the part of town that manyassociate with Cleveland’s still-nascent live-work movement. Most ofthe artist-members, however, have studio space in the neighborhoodand maintain their living quarters elsewhere. Still, the revival ofthe Tower Press Building several years ago has brought a numberof live-work units into the area, and Artspace Cleveland—whichworks to create opportunities for artists wanting live-work spacein Cleveland—is one of City Artists at Work’s many partnerorganizations.The studio tours conducted by CAAW are not to be confusedwith those offered through the Downtown Cleveland Alliance’sgeographically more extensive Sparx City Hop, though its activitiesare often scheduled to coincide with the Sparx events.By keeping its mission uncomplicated, CAAW has been effectiveand remains viable today. But the organization doesn’t only callattention to a community of artists that is not obviously apparent topassersby. By bringing to light some of the ways artists contributeto city life, and by entertaining questions about artists’ roles inrevitalization and gentrification of city neighborhoods, City Artistsat Work also sheds light on how Cleveland works as a city.Vince Reddy, AICP, is a project manager at Cleveland Public Art.FOR THE RECORD By Hilary AurandCleveland Artists Foundation collects, documents, and shows NEO art of the 20th CenturyThe Cleveland Artists Foundation (CAF) was founded in 1984 by Cleveland-based artists, patrons, and collectors. Thefirst location was in University Circle, on Bellflower. The organization moved to the Beck Center for the Arts on the nearwest side in Lakewood in the late 1990s. The Cleveland Artists Foundation is dedicated solely to examining regional artand architecture, and is supported by regional art patrons, collectors and the families of the artists. It is a collectinginstitution that rotates four major exhibitions a year. The organization is supported through cash and in-kind contributionsof many individuals, foundations, corporations, and through state funding, memberships, and fundraisers.The Cleveland Artists Foundation develops all shows with abalance between old and new, including artists both living andwho have passed on. CAF has had a number of significant shows,with major retrospectives on Cleveland artists such as painter PaulTravis, painter Carl Gaertner, and glass sculptor Edris Eckhardt.Although the core of the CAF collection dates from the earlytwentieth-century, and is focused around the Cleveland Schoolartists, executive director Lauren Hansgen and her programmingcommittee lately have been focusing on artists whose careers havespanned the 20th century. A retrospective on Joseph O’Sickeywas shown in 2007 and most recently “The Way of All Flesh”, anexhibition on the works of Shirley Aley Campbell.In 2011, CAF presented its first ever members’ show, “ClevelandCreates”, which featured work created by more than 60 memberartists. Works included paintings, prints, drawings, photographs,sculpture, and ceramics. The gallery begins the new year with “AugustBiehle in Zoar,” an exhibit of works the artist completed in Ohio,which were influenced by the Germanic traditions he developed whilestudying in Munich. It’s open through March 9, 2012.As a collecting institution, the Cleveland Artists Foundationpublishes catalogues that coordinate with each exhibit. Researchfor these catalogues is collaborative, involving regional scholars andother educational institutions. Often these catalogues are the mostthorough documents published on the artists being shown. Theexhibited artists were well known in their day on a regional context,and CAF respects that and has given much of their worka permanent home.As Lauren Hansgen says, “the organization is inspired by thepersonal nature of the art that we exhibit. It is fundamental that thelocal public can connect with the history of this region. Many of theCAF board members and visitors are regional collectors, so there is avested interest in what’s on the walls at CAF.”Regional art work is important in that it is unique to its specific area.CAF has a mission to raise the profile of regional art and continuearchiving, because so many of the resources are quickly disappearing.For instance, Lauren referred to a box full of cassette tapes thatneed to be digitized. These cassettes, recorded in the 1970s, containinterviews with regional artists –oral histories of their works andprocesses. Some of them are all that is left of the artist’s personalmessage. This is just one of the many projects Lauren is working onso that the Foundation becomes not only a resource for regional art,but also for important records, profiles, documents and photographs.Lauren joined the Foundation in the summer of 2007 as part of herinternship through Case Western Reserve University, where she wasearning her Masters in Museum Studies and Art History. She beganworking as the gallery director in 2008, and has since become thedirector extraordinaire.The Cleveland Artists Foundation is taking ambitious steps to keepthe record and work of significant northeast Ohio accessible andalive. Steps include photographing and digitally cataloguing theentire collection so that it can be viewed on the website. Catalogsprinted for CAF’s past shows will be visible on the website as well,and the content will all be updated. In the next year goals alsoinclude a re-branding project that will better describe the missionof the organization, as Cleveland Artists Foundation continues topromote the significant visual art and architecture of Northeast Ohio.Hilary Aurand is co-director of legation, a gallery::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::Location 2218 Superior Avenue, ClevelandPhone 440.238.5674Web www.cityartistsatwork.comEmail wmjean@aol.comFacebook City Artists at WorkMISSIONCity Artists at Work is a grassroots organization of artistswhose mission is to educate the public by exposing themto what artists do, and where and how they do it. Thepublic, in turn, provides the artists with critical analysisand in some cases unusual insight. . The vehicle toaccomplish this has been Open Studio Tours, wherein theartists interact with the public one-on-one and receiveimmediate feedback on work in progress. City Artists AtWork’s secondary mission is economic: we bring peoplefrom the suburbs (and most of our visitors are from outsidethe city of Cleveland), and in some cases from outside ofOhio into the city where they buy art, dine and generallyleave with the impression that the city is not so scary afterall. Our third priority is political: we are a community, andas such can band together to accomplish things, suchas the branding of the Art twelve : : : north east ohio collective arts network journalA BRIEF HISTORYCity Artists at Work is a grassroots organization, foundedby painter William Martin Jean in 1997. Jean and otherartists, including his co-chair Mindy Tousley, wereresponding to both the closure of another organizationrepresenting the interests of the region’s visual arts(NOVA, the New Organization for the Visual Arts), andalso to the number of artists who were at the time movinginto the neighborhood now known as the CampusDistrict.The organization now represents more than 60 individualartists and organizations whose studios or live/workspaces are located in that neighborhood. In additionto its open studio weekend events, the group presentsannual exhibits of work by member artists in the nearbyoffices of the Plain Dealer.Photo: city artists at workOpen studios.John Hay High School students view work of architect Don Hisaka.Photo: Cleveland artists foundationLocation 17801 Detroit Avenue, LakewoodPhone 216.227.9507Web www.clevelandartists.orgEmail laurenhansgen@clevelandartists.orgFacebook Cleveland Artists FoundationGALLERY HOURS1 p.m.–5 p.m. Tuesday through Saturday1 p.m.–8 p.m. Fridays and Saturdays when Beck Centerfor the Arts has performances on stageMISSIONThe Cleveland Artists Foundation preserves, researches,collects, exhibits, documents, and promotes thesignificant visual art and architecture of the NortheastOhio region.HISTORYThe Cleveland Artists Foundation was founded in 1984by Cleveland-based artists, patrons, and collectors. Ithas become the premier center for the art of NortheastOhio—owing both to its significant collecting initiative,and to its commitment to creative exhibition planningand educational outreach.Initially, the Cleveland Artists Foundation’s missionfocused primarily on a group of artists known as the“Cleveland School” who were active from 1900 to 1950.In recent years, CAF has broadened its historical scopeto integrate the contributions of artists who were activebefore and since the Cleveland School. In particular,CAF now devotes attention to the achievements of themost significant artists in Northeast Ohio whose period ofproductivity has encompassed all or part of the last 50years. By broadening its earlier scope, CAF has created aforum that encourages a more comprehensive discussionof artistic traditions and innovations in Cleveland.UPCOMING EVENTSAugust F. Biehle, Jr. in ZoarJanuary 13 – March 9, 2012Artists of Cowan Pottery StudiosMarch 23 - May 5, 2012Mieczkowski in Black and White(MA student thesis exhibition)May 18 – July 28, 2012Tom Balbo Retrospectiveand exhibitions sponsored by Octavofest 2012September 7 – November 17, 2012The Kisvardai CollectionDecember 7, 2012 – February 16, 2013north east ohio collective arts network journal : : : page thirteen

cleveland arts prizeCIA visiting artist programHONORING THE PAST, INFORMING THE FUTUREthe cleveland arts prize takes up the challengeFor Cleveland, that catalytic moment came in 1960—just over halfa century ago—when the late Klaus Roy was presenting a lecture tothe Woman’s City Club. Recruited to Cleveland by the legendaryconductor George Szell to serve as the Cleveland Orchestra’sprogram annotator, the Vienna-born writer and composerchallenged the women in his audience to create a way for Clevelandto acknowledge and honor its artists—just as European cities do.It would take a pillar of the Cleveland arts community to marshalthe effort. Martha Joseph—a native Clevelander educated at theSorbonne and the University of Dijon, and the wife of longtimeMusical Arts Association president Frank Joseph—was just theperson. For some perspective on her persona, look no further thanthe fact that the French government would eventually award herthe title Chevalier de L’Ordre des Arts et Lettres, for foundinganother local arts institution—the Cleveland InternationalPiano Competition.Martha Joseph championed the Cleveland Arts Prize as a programof the Woman’s City Club for its first 30 years, and led a drive toestablish an endowment to fund it. Under the tenure of Mary LouiseHahn, who chaired the organization from 1990 to 2000, CAPcommissioned an Arts Prize medal, launched a scholarship program,and established the tradition of holding an annual awards event incultural venues throughout the city. The organization codified andpublished its selection criteria and became an independent nonprofitorganization under the leadership of Diana Tittle, who was a prizerecipient for writing in 1997 and led the organization from 2000 to2004. Former Tri-C Jazz Festival director Terri Pontremoli led theBy Michael GillHonoring the artistic past sounds like something worth doing, but for that to be anything more than a platitudetakes a catalytic moment. And if the honor is to weave its thread through history, creating a record of what finework our people have done, it takes dedicated effort, sustained across the years.organization in 2005, and then in 2006 turned over the reigns to itscurrent executive director, Marcie Bergman.Now the oldest award of its kind in the United States, the ClevelandArts Prize is a testament to the standard of excellence and qualityof artists in Northeast Ohio. In addition to artists, the ArtsPrize honors individuals who have expanded the community’sparticipation in the arts and helped make the region more hospitableto creative artistic expression.It’s a project launched under Bergman’s leadership that bringsthe prize into the digital media age. Ms. Bergman is particularlyexcited about the Documentary Shorts Video Series, a collaborationwith film maker Ted Sikora, designed to promote and archivethe incredibly talented recipients of the CAP and document theirwork. In stunning videos, Sikora has captured CAP recipients infrank discussions on their art and in surprisingly intimate momentscreating their work. Some of the artists are interviewed while atwork in their studios, which allows for revealing and unpretentiousdiscussion of their work and background. Accessible by the click of amouse through the CAP website and through CAP’s Vimeo channel(, the videos have attractedmany national and international viewers.A brief promotional video featuring snippets of artists recognizedin the Award series’ first fifty years gives a peek into the nativeCleveland talent that would inspire such far-ranging interest: Jazzsinger Jimmy Scott, the “famously dyspeptic” writer Harvey Pekar,the “boldacious” choreographer Dianne McIntyre, painter JosephO’Sickey, and designer Victor Schreckengost all talk about theirwork, inspiration, and key moments in their careers.Bergman says new videos are being uploaded to the site as they arecompleted. The goal is to release approximately 50 videos by 2013.CAP is also seeking sponsorship of videos. Information on how tobecome a sponsor is available on the CAP website.Another new program also stirs Bergman’s enthusiasm. This yearwill see CAP commission art for the first time. Each piece, tobe created by a CAP visual art recipient, will be unique, madein a limited series and offered for sale through the CAP. Again,the project is inspired by the goal of promoting and recognizingCleveland artists.In addition to honoring the past, the Cleveland Arts Prize enablesthe artists of the future with four scholarships available to studentspursuing arts disciplines at Cleveland institutions.The John Paul Miller Scholarship is awarded annually to a studentat the Cleveland Institute of Art; the Klaus Roy Scholarshipis awarded to an orchestral student at the Cleveland School ofthe Arts; the Literature Scholarship is awarded to a student atCleveland State University; and the Kathryn Karipides DanceScholarship is awarded to a graduate student in dance at CaseWestern Reserve University.Michael Gill is editor of CAN Journal.MODELING ACCESS AND BALANCE By William Bustathe cleveland institute of art visiting artist program opens doorsEvery Friday during the school year at the Cleveland Institute of Art, the Lunch on Fridays program offers formal andinformal presentations and conversations with artists engaged with active careers.The program brings together many of the artists who visit CIA eachyear for all lengths of time. Some have been invited for a day by aparticular department, while others are in residence for an entiresemester as part of a major institutional initiative. The Artist inResidence Programs is supported in part by the George P. BickfordFund for visiting artists, which was established in 1968 with thecharge of bringing artists of note to CIA for the students and for thecommunity at large.Lane Cooper, visiting artist coordinator, describes Lunch onFridays as an opportunity for students to get an idea of thepossibilities of different models of professional activity, to get anidea of how they might develop their own careers. “It is a way to seesomething different, to see art as something beyond the classroom,and it gives the students an opportunity to ask the questions thatthey want to ask.” Those questions include “how the artists balancestudio practice with the practical parts of their profession, suchas sending out proposals or teaching, or what fuels their creativeengines—what the artists think about and how they maintainexcitement in their work.”The public is also invited to Lunch on Fridays. It is a way thatCIA provides to make artists and art accessible and part ofthe community.While the direct experience of a work of art might be the best wayto understand it, sometimes it is not enough—especially if newor unusual or from an unfamiliar cultural context. Museums andart centers try to make up the difference by “educating” the publicabout art—which often consists of talking to rather than talkingwith. Sometimes this works. But for many—perhaps most—people,having some sense of personal familiarity with the artist tells asmuch. There can be much more of a window to understanding whenthe viewer is able to hear how an artist talks about their work. Justby knowing the artist a little, the art makes sense—it is intelligibleand even transcendent, in its dialogue with who the artist has beenin their formative years, with who the artist is in an illuminatingpresent, and what the artist’s potential might be.Among the artists who will be featured in Lunch on Fridays thisyear will be artists in residence from the Cuba Project, whichis bringing five noted Cuban artists to live, teach and create inCleveland—two during the past fall, and three in 2012. CIAdescribes the project as “seeing the culture of a nation weave throughgenerations as emerging and established Cuban Artists Share theirtalent and vision. This year’s artists include Alex Hernandes, painterand video artist; Jose Angel Toirac, painter and installation artists;and Meira Marrero, art historian.The lunch on Fridays programs is also a way of encouraginginteraction between students and the interested arts communityof Cleveland. The events are free to both students and the public.And—not to forget the lunch—CIA provides beverages and pizza.Lunch on Fridays happens Fridays at 12:15 in CIA’s Gund Building.Most take place in Ohio Bell Auditorium. The series is jointlysponsored by the Liberal Arts and Foundation Environments withadditional support coming from other Cleveland Institute of ArtEnvironments.William Busta is director of William Busta Gallery.::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::Location P.O. Box 21126, ClevelandPhone 440-523-9889Email info@clevelandartsprize.orgWeb clevelandartsprize.orgFacebook Cleveland Arts PrizeMISSIONThe Cleveland Arts Prize mission is two-fold: First, to identify,reward, publicly honor and promote those creative artists whoseoriginal work has made Northeast Ohio a more exciting placeto live, and whose accomplishments have set a standard ofexcellence to which other artists can aspire.And second, because artists are essential to a healthycommunity, and because the arts need a supportiveenvironment and an engaged public, it is also the mission of TheCleveland Arts Prize to recognize the contributions of individualsand organizations that have expanded the community’sparticipation in the arts and helped make the region morehospitable to creative artistic expression.Artists, art professionals and the general public are encouragedto nominate artists for the prize. Nominations can be madeon-line at the CAP website. The nominations deadline for 2012Awards is February 29th, 2012. Winners will be announced aroundMay 1st and will be honored at the 52nd Annual Awards Event,June 30, 2012 at the Cleveland Museum of fourteen : : : north east ohio collective arts network journalA BRIEF HISTORYIn 1960, Martha Joseph took up a challenge issued by visitingcomposer Klaus Roy to acknowledge and honor Cleveland’sartists. For 30 years, Joseph guided the Cleveland Arts Prize as aprogram of the Club, and led a drive to establish an endowment.Marcie Bergman became executive director of the ClevelandArts Prize in 2006, and under her leadership the organization hasnot only managed the nomination of artists and performers, buthas also created companion programs, scholarships, and events.Among the organization’s programs are a series of documentaryshort videos (, and in 2012, for thefirst time ever, an annual commission for a work by a CAP visualartist which will be available for sale in a limited edition.The Cleveland Arts Prize supports four scholarships for students:The John Paul Miller Scholarshipannually to a student at the Cleveland Institute of ArtThe Klaus Roy Scholarshipto an orchestral student at the Cleveland School of the ArtsThe Literature Scholarshipto a student at Cleveland State UniversityThe Kathryn Karipides Dance Scholarshipto a graduate student in dance at Case WesternReserve University.Photo courtesy of bill josephCleveland Arts Prize founder Martha Joseph.Cuba Project visiting artist Alejandro Aguilera.Photo: Robert Muller/Cleveland Institute of ArtLocation 11141 East Boulevard, ClevelandPhone 216.421.7000Web lcooper@cia.eduFacebook The Cleveland Institute of ArtMISSIONThe Cleveland Institute of Art strives to nurture theintellectual, artistic, and professional development ofstudents and community members through rigorousvisual arts and design education, and in so doing toadvance culture, community, and global quality oflife. Our success is derived from a pursuit of excellence,the fostering of community, a holistic approach toeducation, a culture of accountability, and freedomof inquiry.CIA’s Visiting Artist Program serves this mission by makingaccessible artists and scholars of local, regional, nationaland international significance to the Institute’s internalcommunity and the greater Cleveland community ofwhich we are a part. Lunch on Friday’s, a regular venuefor presenting artists and scholars is one means by whichthe Institute achieves this. It takes place in CIA’s GundBuilding on every Friday at lunchtime, 12:15 pm, of theregular semester and is free and open to the public.RECENT HISTORYA few of the artists who were featured as part of Lunchon Fridays last year included: Sculptor and public artistBrinsley Tyrrell, whose sculpture livens several Clevelandneighborhoods, and whose enamel landscapes wererecently exhibited at William Busta Gallery; Joe Kelly andJay Crocker, who have created real-time animationsto real-time music using home made instruments andsound making devices from found objects, includingdiscarded toys; and, as part of the ongoing CubaProject, Alejandro Aguilera (who works through sculptureinstallation, drawing, and improvisational mechanisms toexplore his relationship to art and history as they relateto him as an immigrant) and Osmievy Ortega, whosework revitalizes the print medium to represent scenes ofsubcultures, social margins and identity.COMING EVENTSThe Bickford Visiting Artist Series lectures are free andopen to the public, and take place in CIA’s AitkenAuditorium of the Gund Building at 11141 East Boulevard.Feb 15, 7pm – Nick Caveon fashion and soundStrategies of Performa: Scene and UnseenReception in Gund lobby before lectureMar 15, 7pm – Clarence Morganon painting and abstractionInspiration from a Painter’s NotebookApr 6, 7pm – Marek Ceculaon ceramic artIndustrial Interventionsnorth east ohio collective arts network journal : : : page fifteen

CONVIVIUM 33heights artsFEAST YOUR EYES By Gina DeSantisconvivium33 revives church building as place to “celebrate and feast”Throughout Cleveland old factories, lofts and other buildings have been converted in artist studio spaces andgalleries. Convivium33 Gallery has something in common with that trend, but is rare in that it reuses not an industrialspace, but the former St. Josaphat Roman Catholic Church.The church was originally built in 1915. However, due to economichardships it was forced to close its doors in 1998. The communitywas unable to support necessary renovations to the building. Itwas de-sanctified by the Catholic Diocese, and religious artifactswere removed. Then, in 2001, Alenka Banco bought the buildingand began renovations. Alenka’s passion for buildings is evidentin her background which includes working for a local non-profitin commercial development, managing an arts building andopening a small gallery in Tremont (Eddie Moved) which she alsorenovated . Alenka is currently pursuing her Masters degree inHistoric Preservation. She opened the stately edifice 2005, withConvivium33 Gallery located in the former church’s nave.Alenka greets me as I enter Josaphat Art Hall. She makes sure tospeak with everyone who visits, offering insight into the historyof the space and its current exhibition. A retrospective show byShirley Aley Campbell hangs on the walls. Her five foot by sevenfoot portraits fit comfortably throughout the nave—not the leastbit overwhelmed by the architecture. Alenka’s goal is to create aprofessional and unique experience for each visitor. Her appreciationfor this space, along with Cleveland and its artists is apparentthrough her approach and the exhibitions she presents throughoutthe year. Alenka feels the artists who live and work in Cleveland arethe city’s greatest asset.She named Convivium33 for a Latin term that means “to celebrateand feast.” The gallery continues to act as a community gatheringspace and celebrates the work of talented regional artists. Onlythree to four exhibitions are hosted throughout the year, includingboth solo and group shows. Alenka feels the large space is bestsuited to accommodate an entire portfolio or retrospective. Thisgives seasoned artists the opportunity to show close to home. Thegallery launched with the work of painter Thomas Frontini. Othersignificant solo exhibitions include photographer and mixed-mediaartist Christopher Pekoc, photographer Michael Levy, printmakerPhyllis Seltzer, sculptor -painter Clarence Van Duzer and Outsiderartist Reverend Albert Wagner.Alenka also has a tradition of shows assembled by guest curators,including the painter and critic Douglas Max Utter (whose essayappears in this issue of CAN Journal), and Cleveland Museum ofArt associate curator Mark Cole. This year, the noted Clevelandphotographer Herb Ascherman will curate an exhibit which willmake its way to Paris Photo 2012. Also this year, Convivium33 willpresent a show of the late Cleveland artist and CIA graduate ScottMiller. On the occasion of his death, Miller was described by curatorWilliam Busta in a Plain Dealer story as “certainly one of themost important artists in Cleveland in the late 20th century.” Thepainter exhibited his work around the world, including galleries inNew York, Los Angeles, Key West, Fla., Toronto, Paris, Tokyo andAmsterdam. He passed away in 2008.Josaphat Arts Hall refers not only to Convivium33, which occupiesthe church’s nave, but to the entire building – which includes officespace, a basement, and other quarters. In addition to the gallery,the Hall houses several artist studios. Working within its walls areglass artists, furniture makers and painters. The working artistsoccasionally open their studios during the gallery events. The galleryhosts events in addition to the exhibitions. Alenka also donates thespace to non-profits for fundraisers.Alenka’s preservation and transformation of St. Josaphat RomanCatholic Church has given the community a new place to gather.It separates itself from other venues with its architecture, whichmerges seamlessly with art that hangs on its walls. Thanks tothe renovations, Convivium33 Gallery has received awards fromboth the AIA Cleveland, American Institute of Architects andthe Cleveland Restoration Society. Originally built as a gatheringspace, Convivium33 Gallery carries on the building’s history andmission with great success and one of Cleveland’s most foremostexhibition spaces.Gina DeSantis is a ceramic artist and coordinator of the ScrewFactory Artists.A VILLAGE IN THE HEIGHTSheights arts focuses on the communityIt was the year 2000. A group of Cleveland Heights residentsincluding Peggy Spaeth, Greg Donley, David Budin, Cathy Culp,and Steve Presser invited Community Partnership for the Arts andCulture CEO Tom Schorgl to meet with them in Spaeth’s familyroom. Their purpose was to talk about how a new organizationin town might support the many artists and performers wholive in Cleveland Heights, and simultaneously help the city’sneighborhoods stay strong.Simultaneous with that discussion, the City had embarked upona visioning process to plan for the future. And through CPAC,Schorgl had begun building an argument for public funding tosupport the arts in Cuyahoga County. A keystone in that argumentwas how the arts could play a key role for communities—supportingboth quality of life and neighborhood economies.“We had about a dozen people, and came up with a laundry list ofideas,” said Spaeth, who is now executive director of Heights Arts.The list included a gallery—because, for as many high quality visualarts who call Cleveland Heights home, there was at the time noyear-round art gallery in the city. They wanted music programming.By Michael GillIf ever the stars have aligned for a group of people that wanted to do a good thing for their community, it was forthe people who launched Heights Arts.They wanted to support poets. And they wanted to use public art toimprove the streetscape.All that energy resulted in Heights Arts, which quickly establisheditself as a major force for artists and neighborhoods in the region.In 2002 space became available in a storefront adjacent to a popularindependent movie theater on Lee Road. They organized a “pop-up”holiday store that proved so successful that they signed a lease for afull-time gallery. In 2010 the small gallery expanded into an adjacentstorefront and now includes a space for classes and workshops.It’s a small amount of physical space, which serves the organizationwell by keeping expenses down.Indeed, Heights Arts focuses on four program areas, only one ofwhich depends on committed physical space. That’s the art galleryitself, which presents six exhibitions each year.In addition to the gallery, Heights Arts collaborates with the Cityof Cleveland Heights on its poet laureate program. Supportedby Cleveland Orchestra violinist and Heights Arts trustee IsabelTrautwein, a chamber music series presents four house concerts ayear, which consistently sell out.But the organization’s biggest visual impact probably comes fromits public art installations, and collaborations with neighborhoodgroups on the design of public space.“We facilitated public art projects, both permanent and temporary,for several business districts—Cedar-Fairmount, Coventry, CedarLee, Larchmere, and Cedar Center,” Spaeth said. “Those projectshave included signage, murals, benches, the iron fences on Coventry,“Fencepiration,” and “Knitscape”—the temporary installation ofcolorful, form-fitting, knitted covers for parking meters, trees, andother features of the streetscape in selected neighborhoods.Spaeth believes in grass-roots, community level activity, whichis what Heights Arts is all about. “There’s an awful lot to be saidfor the ‘village’ concept,” she says. “We have wonderful largecultural institutions, but we also need smaller organizations in thecommunity that deliver art on a daily basis. The arts should not beapart from life, but a part of life.”Michael Gill is editor of CAN Journal.::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::Location 1433 East 33rd Street, ClevelandPhone 216.881.7828Web www. http://josaphatartshall.comEmail convivium33@josaphatartshall.comFacebook Convivium33 Gallery at Josaphat Arts HallMISSIONIt is the personal relationship between art, space andself that is the foundation for Convivium33 Gallery, whichis located in the nave of the former church. ProprietorAlenka Banco asks, “So, what are four walls anyway?They are ....what they contain.” Josaphat Arts Hall isunique and special in many ways. The sacred structurewhich will house the new Convivium33 Gallery will alsobe the new location for several art business studios.The economic benefits which enrich communitiesthrough the arts are recognized. A visit to the buildingcan introduce a guest to the arts through interactive artopportunities. Private classes, workshops and lecturesare now being offered in the individual studio businesses.Included are stained glass, painting, web design, glassfusion and slumping.Interested artists are encouraged to visit studio residents,or e-mail for sixteen : : : north east ohio collective arts network journalA BRIEF HISTORYFacing declines in its congregation and revenue, St.Josaphat Roman Catholic parish closed its doors in1998. After running a gallery called “Eddie Moved” inwhat had been the former home of a Tremont crackdealer, Alenka Banco came upon the space that wasto become Convivium33 just as movers were removingits furniture. The former St. Josaphat Church was up forsale, and she immediately saw its potential as a gallery.It wasn’t until years later, in 2001, that she bought thede-sanctified church from the Catholic Diocese ofCleveland. After two full years of almost continuousrenovation, including the installation of a new roof andheating system, she opened Convivium33.UPCOMING SHOWSScott Miller (1955-2008), curated by Alenka BancoMay 25-June 29, 2012Paris Photo2012 CLEVELAND, curated by Herb AshermanSeptember 12-September 16Pulp Imaging, curated by Lynn SuresOctober 17-October 21, 2012Thomas Frontini, curated by Alenka BancoDecember 7-January 11Photo: convivium 33Convivium 33 on opening night.Heights Arts’ “Knitscape” public art installation.Photo: heights artsLocation 2175 Lee Road, Cleveland HeightsPhone 216.371.3457Web heightsarts@heightsarts.orgFacebook Heights ArtsGALLERY HOURSMonday, Tuesday, Wednesday 10-5Thursday, Friday 10-9:30Saturday 1:30-9:30Closed SundayMISSIONHeights Arts is a nonprofit community arts organization inCleveland Heights, Ohio. Heights Arts cultivates a strong,diverse, and collaborative arts community by inspiringpeople of all ages to engage in the arts; supportingthe arts through education; providing exhibition andperformance opportunities; and fostering publicappreciation for the arts.Heights Arts Gallery’s mission is to present significantart to the community; emphasize regional artists, withspecial attention to Heights artists; collaborate andfoster collaboration among area artists and institutions;advance the arts and artists; and stimulate wider artappreciation.A BRIEF HISTORYHeights Arts was founded in 2000, as a result of grassrootsleadership in collaboration with the city. Sincethen Heights Arts has created a place rich with artists,performers, art educators, administrators and otherswho make their livelihood in the performing or visualarts. We contribute to the region’s artistic vitalityby showing regional artists at Heights Arts Gallery,facilitating public art and design projects, presentingchamber music and other concerts in intimate settings,nominating and supporting the Cleveland Heights PoetLaureate, and having classes and workshops in thearts. As a multidisciplinary arts organization, we tapinto the potential of our creative residents to enrichcommunity life.north east ohio collective arts network journal : : : page seventeen

kenneth paul leskokokoon arts galleryTHE ROAD SHOW COMES HOME By Susan Kelleythe historic and the contemporary mingle at kenneth paul lesko galleryStanding outside the Kenneth Paul Lesko Gallery on the second floor of 78th Street Studios you are immediatelytaken by the mix of clean, industrial style metal and glass fixtures with the warmth of the wood detailing—beginningwith the most intriguing, oversize Italian art glass door handles you’ve ever seen in your life.The gallery itself invites exploration, exuding a sense of strength andelegance: minimal furniture and fixtures (apart from those glassdoor handles) maximizes the art on display. The art is the star of theshow, and the Leskos have done everything possible to make that thefocus of your experience.Owners Kenneth Paul Lesko (Executive Director) and his son RossLesko (Gallery Director) work hard to achieve quality with everyexhibition. Between the two of them, they have more than 60years of experience in the art world. Ross literally grew up in thebusiness of dealing in significant art at shows and auctions aroundthe country. For decades, most of their business was done on theroad. Originally dealing in historical Modernist artwork (painting,sculpture, decorative arts, etc.) and vintage Italian art glass (1870-1970), their shared passion has lately expanded into a combinationof historical and contemporary artwork.With an international reputation for dealing in high quality art, theycould have settled anywhere and been successful. But, being fromthe Cleveland area, they felt that the quality of arts and culture herecould match any other major city. So when they decided in 2003 toopen a gallery as permanent exhibit space, Cleveland was the onlychoice. They have been at 78th Street Studios longer than any othergallery in the building.Since opening the gallery, they have added “Cleveland School”Artists (early to mid-20th century artists connected to Cleveland) totheir historical collection and have launched six Cleveland Schoolexhibitions. They have also added contemporary Cleveland artists totheir collection and exhibition schedule, including Cleveland artistsin solo, two-person, and group exhibitions.What the Leskos bring to Cleveland is a unique glimpse of Modernhistorical and contemporary art from around the world, matchedwhenever possible with the work of local artists. This also affordsout-of-town visitors to see the quality of work being produced inCleveland. A good example of this is their annual Cinema Exhibition(designed around the idea of cinema as a translated medium). Of the18 artists (from eight cities and two countries) featured in Cinema01, eight were from Northeast Ohio. The following year, in an exhibitthat featured 17 artists from 12 cities and four countries, four of theartists were contemporary Clevelanders.The galley is open Wednesday through Saturday and well worththe visit. If you visit their website, a click on“Previous Exhibitions” will give you an idea of the high quality andvaried range of art work available at the Kenneth Paul Lesko Gallery.Susan Kelley is office manager at the Morgan Conservatory.OUT OF THE KOKOON By Michael Gillin the past, present, and future: exhibiting the drive to break freeKokoon Arts Gallery got its name from old Cleveland lore. The original Kokoon Arts Club—founded by early 20thcentury Cleveland artists & lithographers Carl Moellmann and William Sommer—was active from 1911 to the 1940s.According to the Encyclopedia of Cleveland History, the group became known not only for seeking new formsof expression (as alternatives to the conformity of academic art), but also for “extravagant parties that featuredunconventional costumes, exotic dances, opening processions, enormous props and clashing decorations, andunpredictable ‘stunts’ throughout.”The old Kokoon Arts Club has had a bit of attention recently, thanksto Henry Adams and Lawrence Waldman’s book, Out of the Kokoon,published in 2011 in conjunction with an exhibit at the ClevelandPublic Library.If that makes William Scheele’s Kokoon Arts Gallery sound like itemphasizes the past, that’s only partly true. In fact, Scheele’s galleryis equally informed by the Kokoon Arts Club’s drive to press onwardinto a future of ever expanding creative possibilities.Scheele is certainly grounded in twentieth century art fromCleveland. In 1984 he founded and directed the Cleveland ArtistsFoundation, which initially focused on early twentieth-centuryartists of the Cleveland School. Scheele’s father—a painter ofimagined scenes from the natural history world (who becameDirector of the Cleveland Museum of Natural History in 1949) wasa strong influence.But the other nonprofit organization Scheele founded—the NewCenter for Art and Technology, or NewCAT—looked toward thefuture. The organization’s 2002 inaugural exhibition brought aninternational collection of computer graphic art called The DigitalHall of Fame to Cleveland. It was the first time the work had everbeen exhibited in the United States. Over the next four years,NewCAT presented work from the annual Macworld Digital ArtGallery; produced a forum and exhibition on Creative Industries atCASE University; and participated in the first Ingenuity Festivals.“One of the interesting things that happened at NewCAT is thatmany people came to our exhibitions out of curiosity for thenewness,” Scheele said. “People were aware of digital art, but didn’tknow how it was done. It was like when the camera was new. Peoplehad to realize that technology doesn’t just make art. That requiresan understanding of the machine. Making art requires humanintervention.”Both currents have a strong presence at Kokoon Arts Gallery. “Whatinterests me is work that spans the ages—looking at how historicartists may treat a subject matter, and how contemporary artists aredealing with it,” he adds.Scheele has run galleries exhibiting traditional and digital mediasteadily since 1988, beginning in Cleveland Heights. His currentgallery is located in the 78th Street Studios.By showing digital media in the same venue as historic ClevelandSchool artists and illustrators of the natural world, Scheele draws abroad cross section of art aficionados, and commonly exposes peopleto work that stretches the limits of their appreciation.“Sometimes I do see skepticism of new media,” he says. “There arestill people who are very stodgy. This is why I deal with everythingfrom traditional art techniques to computer graphics and video. Tome it is all intriguing. To me it is the human creative spirit that isreally interesting, and I love to show different ways to see the world.That is why I remain in the business. I work from a passionatestandpoint. If I were in this for the money, I wouldn’t be here. Thisis a labor of love.”Michael Gill is editor of CAN Journal.::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::Location 1305 West 80th Street, ClevelandPhone 216.631.6719Web www. kennethpaullesko.comEmail gallery@kennethpaullesko.comFacebook Kenneth Paul Lesko GalleryGALLERY HOURSWednesday-Saturday, 12:00pm-5:00pmA BRIEF HISTORYKenneth Paul Lesko Gallery opened in 2003, afterexhibiting at Modernist venues around the country formore than 20 years. Executive director Kenneth PaulLesko and his son, gallery director Ross Lesko have livedin the Cleveland area for most of their lives, and decidedto open the gallery in Cleveland as an experiment. In theintervening years, they have had significant exhibitions ofhistorical and contemporary paintings and sculpture, byboth Cleveland artists and artists from around the world.Other exhibitions include Vintage and ContemporaryPhotography, Tribal Art, American Studio Pottery andContemporary Glass, as well as their annual internationalexhibitions of Cinema Inspired eighteen : : : north east ohio collective arts network journalUPCOMING SHOWS(subject to change)Judith Brandon [Cleveland, OH]: Solo ExhibitionDirector’s Choice 2012: Historical & ContemporaryGregory Lowell Smith [Banner Elk, NC]: Solo ExhibitionJane Millican [London, UK]: Solo ExhibitionTroy Gua [Seattle, WA]: Solo ExhibitionCinema 03: International Group ExhibitionKasumi [Cleveland, OH]: Solo ExhibitionPhoto: ross leskoKenneth Paul Lesko gallery.Kokoon Arts gallery.Photo: william S. scheeleLocation 1305 West 80th Street, Cleveland78th Street StudiosPhone 216-832-8212Web www.kokoonarts.comEmail williamscheele@gmail.comFacebook Kokoon Arts GalleryGALLERY HOURSFriday & Saturday 11 am to 4 pmor by AppointmentMISSIONThe gallery shows historic and contemporary localartists, along with artists from around the country andworld. Areas of artistic exploration include naturalhistory, spirituality & mysticism, local Kokoon Arts Club& Cleveland School history, photography & computergraphics. In that Spirit, Kokoon Arts Gallery presentsquality artwork from Traditional to Digital Media.A BRIEF HISTORYWilliam Scheele established Kokoon Arts Gallery inOctober 2007 in the 78th Street Studios facility. The gallerycontinues the tradition established in 1911 by the KokoonArts Club to promote a more modernist approach toproducing art, believing that artistic creativity should notbe limited by any conventional ideas or laws. Artists mustalways be free to explore new concepts, techniques andcreative tools. Therefore Kokoon Arts Gallery will alwaysrevere and honor historic traditional media, but believesthe evolution of artistic creativity is never ending..2012 EXHIBITIONSNature Revealed: Wildlife & EnvironmentsJanuary 20 through April 14, 2012Michael Nekic: Altered CityMichael Prunty: Recent WatercolorsGary Spinosa: Temple of the SpiritsRandall Tiedman: InScapesAndrea LeBlond & Donna Webb: CeramicsErnie Horvath, Susan Squires, Karen Kunc & DarrenWaterston: In Search of the Miraculousnorth east ohio collective arts network journal : : : page nineteen

lAnd studio/cleveland public artTHE ART OF PUBLIC SPACES By Harriet Gouldcleveland public art and parkworks join forces as land studioThe organization formerly known as Cleveland Public Art begins a new chapter in the new year, as it joins forceswith ParkWorks to create a single entity called LAND Studio, (LAND being an acronym for the combined entity’sareas of focus Landscape – Art – Neighborhoods – Development). The new organization will continue the work of itsparent organizations–creating places and connecting people through public art, sustainable building and design,collaborative and dynamic programming.The merger makes a good occasion to look back at the workCleveland Public Art has done to improve public spaces in thecity. By creating specific works and collaborating with otherorganizations on their plans, Cleveland Public Art shaped theexperience of being in public places around Cleveland.Founded in 1985, Cleveland Public Art completed many significantprojects that enhance public buildings, improve streetscape design,and have bring new life to vacant lots, parks, hiking/biking trails,and neighborhood centers.The group always has—and will continue to—emphasizecollaboration. Community leaders in the city’s diverseneighborhoods contact them for help identifying and creatingprojects that will enhance their community’s vacant land,playgrounds, and other features. Each project reflects theneighborhood where it is located, resulting in artwork that is part ofeach community’s identity. To ensure that all interested artists havethe opportunity to collaborate, the organization maintains a registryof artists interested in working in the public realm. When projectscome together, all artists on the list are invited to submit proposals.Many of Cleveland’s most delightful and iconic public spaces werecreated or enhanced in collaboration with Cleveland Public Art.The Eastman Reading Garden at the Cleveland Public Library isone of Cleveland Public Arts most notable projects. The Garden isa remarkable open urban space located between the Louis Stokeswing and the original main library building. In the summer monthspeople flock there to meet friends, read a book and enjoy their lunchin the beautiful outdoor space. Playful bronze figures by sculptorTom Otterness are scattered around the garden. They mischievouslyrearrange and steal letters from its bronze gate. Continuing the themeof words and meanings, sculptor Maya Lin created an L-shapedfountain and reflecting pool. The title, “Reading a Garden,” can onlybe read correctly if seen as a reflection in the water.The organization’s reach extends into Cleveland’s neighborhoods.The trailhead to Slavic Village’s Morgana Run trail is visible froma distance thanks to Rotoflora, a 35-foot flower sculpture madefrom steel, including recycled bicycle wheels, and illuminated withenergy-efficient LEDs.Cleveland Public Art and ParkWorks were already collaborating in2002, when they created the Orchard Park School playground, inOhio City. The project included 560 linear feet of fencing createdby sculptor Brinsley Tyrrell. Each 10-foot long, hand-forgedsection of the fence depicts groups and individuals in motionrunning,dancing, and wheeling their way around the playground.After the installation, a multiple-vehicle accident damaged thefence. The artist incorporated the crash into one of its scenes. Theartwork has become a community asset, adding vibrancy andinterest to the neighborhood.In conjunction with the City of Cleveland’s recently launched FoodCart Initiative, Cleveland Public Art has begun a program that pairsthe food cart operators with local artists to visually enhance the foodcarts and boldly express each vendor’s offerings. . Making the foodcarts into mobile works of public art is an immediate way to create abrand for each new business.Cleveland Public Art also provided consulting services to many ofthe city’s civic investments, including RTA’s Euclid Corridor, theGateway Sports complex, the Cleveland Public Library’s downtownexpansion and the Medical Mart Downtown Mall project.The non-profit frequently gives lectures, serve on panels, makereferrals from the artist database, and coordinates artist-selectionprocesses for organizations. Cleveland Public Art includes manypeople and groups into the planning process to create a publicpartnership project. They create synergies and relationships withcommunity development corporations, artists, foundations, othernon-profits and organizations to integrate art into the community.The merger of Cleveland Public Art with ParkWorks to createLAND Studio ensures that their efforts to beautify and improvepublic spaces in the city will continue.Harriet Gould is co-director of ArtSpace-Clevelandlegation, a galleryA MARRIAGE OF ART AND MUSIClegation, a gallery combines two lovesLegation a gallery opened in 2009, with “Anatomy of the Barnstorm: black and white photography by Daniel Mainzer,”an exhibit of Mainzer’s Joe Walsh album art, candid and audience shots, as well as his documentation of the AkronFirestone Plant. Thus began this union of art and music, the vision of wife and husband Hilary and John Aurand.The name legation once was a diplomatic term, referring to someoneother than an ambassador. The Aurands define it as “the sendingforth of one person to act for another.” A gallery, or an agent, forexample, might act as a legation for an artist.John says his resolve to make the gallery a reality comes from “notwanting to regret the things you don’t do.” The Aurands decided toopen the gallery when circumstances aligned: They were looking fora place to live, and at the same time, Hilary needed studio space.So rather than buy a house in a tough economy, they moved intothe 78th Street Studios –specifically, into a space that once housedAmerican Greetings Creative Studios.John, once a financial planner, turned to planning events, from livemusic performances to gallery exhibits. Instead of investing money,he was investing sweat equity in the renovation of the space, and theprogramming therein. What began as three empty rooms is now oneopen space full of activity.By Jean BrandtThey chose space in the 78th Street Studios in part due to itsproximity to Gordon Square Arts District. (eliminate this andparticularly its Theaters: Cleveland Public Theater, and CapitolCinemas.) Since moving there, the two have become active leaders,and a primary force in the promotion and success of the 78th StreetStudios third Friday openings, which now draw hundreds of visitorseach month. While legation’s exhibits run the continuum fromtraditional to conceptual, the Aurands say what is most importantis that the audience is comfortable. Creating an ambience of a veryopen and relaxed space is key. An artist herself, Hilary is particularlysensitive to difficulties artists can have approaching galleries for ashow. She found that Cleveland can be just as intimidating as largercities in this regard. She wants legation to help artists network withthe market and to provide greater opportunity for emerging andestablished artists. Hence, the name.In addition to being a resource to local artists, the gallery also givesback to a community in Kenya, East Africa, with 10% of proceedsfrom art sales donated by legation to the Victory Gospel Church.John brings similar passion to the presentation of music. He likesthe intimate setting their 3,000 square feet can provide. Bands are apart of the opening night events at Legation. The gallery and livingspace also present occasional house concerts. The flexibility of therelationship between the visual and musical components of legationhas also helped the Aurands book special events.Jean Brandt is director of Brandt Gallery.::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::Location 1939 W 25th St, Ste 200, Cleveland, OH 44113Phone pending the new organization’s numberWeb gpeckham@land-studio.orgMISSIONLAND studio’s mission is to create places and connectpeople through public art, sustainable buildingand design, collaborative planning, and dynamicprogramming.A BRIEF HISTORYLAND studio was formed in 2011 through the mergerof Cleveland Public Art (CPA) and ParkWorks, two ofCleveland’s leading non-profit organizations focusedon enhancing public spaces.Historically, CPA had accomplished this throughstimulating public art and ParkWorks through thecreation and care of inviting greenspaces. But eachorganization evolved over time to embrace largerroles in the envisioning, planning, designing, building,and programming of Cleveland’s public twenty : : : north east ohio collective arts network journalAnd this evolution was a collaborative one, with bothorganizations working together more frequently onmultiple projects citywide.Eventually, the two parent organizations came to theconclusion that by becoming more than occasionalpartners, they could accomplish even greater workfor Cleveland. Thus, after a thoughtful merger process,LAND studio was born.Photo: cleveland public art“Rotoflora” sculpture at the Morgana Run trailhead in Slavic Village.Legation, A Gallery.Photo: hilary arnoldLocation 1300 West 78th StreetPhone 216.650.4201Web www.legationagallery.comEmail legation1300@gmail.comFacebook legation, a galleryMISSIONOur mission is to engage artists, designers andmusicians in a professional networking environment inCleveland’s largest art center, the 78th Street Studios.Our 3,000-square-foot space can host art exhibtions,musical performances and can be rented for otherevents such as business or networking meetings, fashionshows and wedding ceremonies or receptions. A portionof all donations and proceeds go to Victory GospelChurch in Kenya, East Africa to benefit a mission fororphans and widows. For more details or to set up ashow, please call Hilary Aurand at 216.650.4201or EVENTSDerek Gelvin & Jim Leach, sculpture and installationJanuary 20 – February 25Hilary Aurand & Dawn Tekler/ paintings and photographyMarch 16 – April 20Dott Schneider “The Missing Piece”, interactive installationApril 20 – May 5Jason Byer, new paintingsMay 18 – June 2Meghann Snow, new performance paintingsJune 15 – July 7Additional W. 78th Street Studios 3rd Fridays:August 17September 21Sarah Curry & Hadley Conner, paintings & photographyOctober 19November 16December 21north east ohio collective arts network journal : : : page twenty one

morgan art of papermaking conservatoryorange art centerMorgan Conservatory Occupies Clevelandmaking paper by hand in midtown is the opposite of greedIf Occupy Wall Street’s goals are to challenge the paradigms of greed and self-involvement, then the Morgan Artof Papermaking Conservatory and Educational Foundation has something in common with the political movement.Its mission and practice are an antidote to those corporate vices. But the Morgan came first.Conceived by artist and papermaker Tom Balbo in 2006, thenonprofit organization is dedicated to handmade papermakingand the arts that extend from paper such as printmaking andbook arts as well as hosting exhibitions celebrating these forms.The Conservatory provides remarkable resources that introducethe broader community to the unique and beautiful qualities ofhandmade paper while providing artists with the facilities to explorethis form to a depth and degree few other institutions can match.Adding to this commitment to the art of paper is a commitment togreen practices and community enrichment. The Morgan standsas one of Cleveland’s truly important creative engines bringing theaesthetics of the handmade paper to a reality of Urban renewal.The Conservatory even maintains a small grove of “giving trees” in atenderly cared-for garden. The Kozo trees were planted from cuttingsbrought from the University of Iowa the year after the organizationwas founded. They thrive behind the former machine shop theMorgan calls home. Beginning in 2006,the industrial building wasslowly transformed through the sweat equity of many local artistsand volunteers bringing Balbo’s remarkable vision to fruition, andfulfilling the mission of the trust established by a gift from the lateCharles Morgan.Every year running from May to September, the Morgan providesworkshops on a variety of paper and bookmaking topics. In2011 these included sessions such as “Animated Pop-Ups,” PaperCasting, “ Books on Brass Boards” and “Big Ass Papermaking.”The Conservatory is also a destination for area school fieldtrips andoften provides instructors for in-school workshops. The Morgan hasfacilities capable of producing paper made following Eastern andWestern practices. The organization itself exists as an inviting hubof creative energy attracting people from diverse backgrounds to thisurban neighborhood.Further extending this outreach will be the 2012 InternationalAssociation of Hand Papermakers and Paper Artists/Friends ofDard Hunter Conference, running October 17 – 22, the eventwill be hosted by the Morgan. The conference will bring anestimated 300 to 350 paper artists from around the world toBy Lane CooperCleveland. Founded in 1986 in Düren, Germany, the IAPMA is aninternational organization and has been a leader in promoting paperas an art medium. Partnering in the conference is The Friends ofDard Hunter a group which is committed to education and socialconnection in the field of papermaking and which promotes interestin the Dard Hunter Collection which is housed in the Robert C.Williams Paper Museum in Atalanta, GA. Nine Cleveland areagalleries will work with the Morgan to host supporting exhibitionsand workshops. The Dard Hunter/IAPMA Conference representsa notable event for the Morgan firmly situating the Conservatorywithin a growing international papermaking community.Lane Cooper is assistant professor, head of the Painting program, andVisiting Artist program coordinator at the Cleveland Institute of Art.:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::NESTLED (AND GROWING) IN THE WOODSorange art center makes a place for the arts in Pepper PikeThe Orange Art Center traces its roots to 1968, when a group ofdedicated community members established the Orange CommunityArts Council as a way to promote cultural events in theircommunity. The next year, 800 people attended the first Barefoot inthe Parlor House Tour and Garden Fare. This confirmed the supportof cultural programs for the community, and by 1980 the councilprovided the funds to establish the Orange Art Center. Throughoutits history, OAC has expanded with the addition of gallery space,instructional space, and a state of the arts ceramic studio, therebydoubling in size.Today OAC thrives, offering extensive visual arts classes yearroundto adults, teens, and children. Additional programs include:community partnerships, exhibits and events, and financialassistance and programs to students in the Orange School District.The Center’s dedicated staff of two, Executive Director, DeborahPinter and Executive Assistant, Gina DeSantis receives support in allits programs from its impressive list of faculty.Orange Art Center’s class listing can readily be found online. OAC’sclass offerings focus on painting, jewelry, ceramics, mixed mediaand crafts. By no means, however, are these the only classes offered.A visit to their website whets the appetite. Orange faculty includewell know professional artists who exhibit regularly throughout theregion and are also included in local collections. Four class sessionsare planned annually, encouraging participants to learn somethingnew or continue expanding in their area of interest. While theBy Amy CraftNestled in a tranquil, wooded setting, the Orange Art Center is the center of creativity for Pepper Pike and thesurrounding areas. Making its home in a century-old house adjacent to the Cuyahoga County Library’s OrangeBranch, the Center offers a perfect environment for making art. Its outdoor environment sets the stage for its indooractivity by offering a feeling of calm and contemplative thought.OAC audience encompasses the greater Cleveland area and EasternPennsylvania, its primary audience is local retired adults.Director Deborah Pinter remarked during our interview “OrangeArt Center has a unique spirit of family. It has dedicated patronsand supporters, some going back thirty years, who remain involvedwith the organization. These patrons have given of their time byvolunteering or remaining active in classes. Through this longstanding connection of repeat customers, a wonderful commitmentto the OAC has been established.”This family environment is evident through the other programsoffered by the center. Core to its mission, OAC is committed tohelping students further their artistic development, nurturingartistic expression in all its participants, and delivering high qualitycultural entertainment to the community. For example, the OrangeArt Center mentors two to four high school seniors annually,offering them the opportunity to complete their senior project at theCenter. Through this program, students can take as many classesand workshops as they like during the month of May at no cost. The$500 Orange Art Center/Charlene Power’s Award is awarded to anOrange High School junior each year. Younger students in gradesK-5 can participate in after school classes, selecting from pottery,drawing, and painting.Through an ongoing partnership with New Directions, a treatmentfacility for chemically dependent teens, the Orange Art Centerprovides a nurturing environment whereby clients can experiencepottery classes once a week throughout the year.The Orange Art Center has three exhibitions a year. The springfaculty exhibition highlights the amazing accomplishments ofOAC’s very talented artists and teachers. Each June, for morethan 25 years, the annual Student Show has presented the work ofclass participants and offers juried prizes. OAC’s annual Animalsin Art Exhibition, known by many in the local arts circles,is a collaboration that supports artists, a local animal rescueorganization, and the Orange Art Center. This unique collaboration,created by OAC’s director Deb Pinter, is an exhibition and art salethat showcases 30-40 local artists. For one week the exhibitionspotlights works of art with an animal based theme. The OAC’sdirector, a practicing artist herself, feels it is important the eventgives back sixty percent of the proceeds to the participating artists,with the remaining proceeds being split between, this year’s partner(the spay-and-neuter clinic PetFix of Northeast Ohio) and theOrange Art Center.The Orange Art Center exceeds its goal of successfully encouragingthe practice and appreciation of the fine arts among people living inthe Orange School District by serving it community and the localCleveland area through quality programs. Their small and talentedstaff continues moving the organization forward as they reach out tothe community, continue to have a presence at community events,and maintain their welcoming family environment within the center.Amy Craft is executive director of Art House:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::Location 1754 East 47th Street, Cleveland, OH 44103Phone 216.361.9255Web www.morganconservatory.orgEmail program@morganconservatory.orgFacebook Morgan ConservatoryGALLERY HOURSTuesday through Saturday, 10 a.m. – 4 p.m.MISSIONThe Morgan is a non-profit art center dedicated to thepreservation of hand papermaking paper arts and theart of the book. The Morgan pursues its educational andcharitable purposes by serving the greater communitylocally, nationally, and internationally with sustainablepractices in an innovative green environment.A BRIEF HISTORYTom Balbo and many other local and national paper,book and print artists and educators saw the need topreserve these art forms as they were disappearingfrom art schools and colleges. Beginning operationsin October, 2008 in a repurposed 15,000+ sf machineshop the Morgan offers workshops in handmadepapermaking, paper and book arts, and offers 5 to 6national/international exhibitions each year in its 1,540expandable gallery space. Among those have been the“”War as Art / Art As War Combat Paper exhibit, whichpresented works made on paper created by soldiers frompage twenty two : : : north east ohio collective arts network journaltheir old uniforms; “Bad Boys, Magic Ladies, and TimelessMasters” which featured contemporary American blockprinters – at least one of which used a steamroller as atool for the transfer of ink; and the annual Abecedariashow, organized by Artist Books Cleveland.UPCOMINGCIA Steamroller PrintsWinter, 2011John Adams/Clare Murray-Adams (Drawing/Mix Media/Encaustic)March, 2012Rebecca Cross (Shibori on Handmade Paper)May, 20112Don Lisy (Drawing)/Qian Li (Drawing)July, 2012Snail Mail/Paper Trail (Art Auction – invited artists createpaper on Morgan Paper)September, 2012“Colossal, Vast, Enormous” and Members Exhibition(Watermarks 2012 Conference exhibition)Friends of Dard Hunter and International Association ofHand Papermakers & ArtistsOctober, 2012Photo: morgan conservatoryBookmaking at the Morgan.Live figure painting.Photo: orange art centerLocation 31500 Chagrin BoulevardPepper PikePhone 216.831.5130Web www.orangeartcenter.orgEmail,gdesantis@orangeartcenter.orgFacebook Orange Art CenterOffice HoursMonday-Friday 9:30am-4:00pmMISSIONThe mission of the Orange Art Center isto offer educational opportunities, whichencourage the practice and appreciationof the fine arts among people living in theOrange School district and surroundingareas by: Operating classes for childrenand adults that develop and nurtureartistic expression; Providing educationaland social programs, which inform andentertain; Providing financial assistanceand programming in the Orange SchoolDistrict; Sponsoring art exhibits and fineart performances for the community;and collaborating with other communityorganizations.A BRIEF HISTORYThe Orange Community Arts Council(OCAC) was incorporated January 17,1968 as a community group who visualizedcreating a Summer Campus of the Arts forthe Orange Community. In March of 1969,800 community members attended thefirst Barefoot in the Parlor House Tour andGarden Faire.The OCAC worked on their goals in threePhases, Phase I (1967-1970), Performing Arts,Phase II (1970-1979), The Interim Periods ofClasses and Scholarship; and Phase III(1979-currently), the Visual Arts/Art Center.In 1980, OCAC established the Orange ArtCenter in an 83-year-old house nestled inthe woods near the Cuyahoga CountyPublic Library-Orange Branch. Capitalcampaigns over the years have more thandoubled the size of the original buildingby enhancing the instructional spaces,expanding exhibit areas and building astate-of-the-art ceramics studio. Overthe years the purpose of the Orange ArtCenter and the type of programming haveshifted its focus primarily to Phase III, theVisual Arts component. With the continuingsupport of the board, staff and community,the Center has become one of the area’smost prestigious community art centers inits area.UPCOMING EVENTSFaculty Exhibition: March 16-30, 2012Opening and Patron Party: March 16, 2012from 6-9pmStudent Exhibition: June 4-June 8, 2012Opening: June 3 from 3-5pmAdult Classes and WorkshopsWinter Session: January 15-March 9, 2012Spring Session: April 2- May 25, 2012Summer Session: June 25-August 3, 2012Fall Session: September 10-November 16,2012Children’s ClassesWinter Session: January 23-March 9, 2012Spring Session: April 8- May 25, 2012Summer Camps: Weekly, June 11 – Aug. 17Fall Session: October 1-November 16, 2012north east ohio collective arts network journal : : : page twenty three

the print club of clevelandproximityINTIMATE CONTACT By Beth Whalleythe print club of cleveland helps members get in touch with fine artAs artmakers, gallerists and art enthusiasts, many of us are accustomed to seeing art hung on walls, with plentyof white space surrounding it to provide optimal viewing free from “distraction” by things like doors, light switches,and other artwork. It’s not that way at the Print Club of Cleveland’s Fine Print Fair, an annual event I attended lastyear at Tri-C’s Corporate College East.The Fine Print Fair is by far the largest and most popular eventorganized by the Print Club of Cleveland. Attended by collegestudents, seasoned collectors and everyone in between, it wasencouraging and interesting to see such diversity in the room.Prints were literally everywhere – on the tables, hung on moveablewalls, in racks on the floor, and leaned up against the wall. Thesheer number of prints and the ability to handle the work breedsa familiarity with and appreciation of the prints that just can’t beachieved in a gallery setting. Walking around the fair, I saw peoplediscussing the prints and processes. The room had a buzz of energyas members, attendees, students, dealers, friends and curatorsexpressed their shared love of the medium.There is a definite intimacy involved in handling prints and, thoughthey were all matted to protect the image on the paper, the viewerhas a significant responsibility handling the work.And with fourteen vendors from around the country, there was agreat diversity of artwork in the room as well. From 18th centuryEuropean to 19th century American to contemporary Mexican orJapanese prints, the breadth of time and geography represented at thefair made it really enjoyable to move from dealer to dealer. With justas large a range in prices, this event makes art collecting accessible toanyone who wants to start or build a collection of their own.The Print Club of Cleveland is an established organization with 91years behind it, only six years younger than The Cleveland Museumof Art. In fact, the Print Club is an affiliate of CMA, and roughlyone-third (or 18,000 works!) of CMA’s print collection have beengifts from the club and its members. The individual membersshare a love of print collecting and an appreciation for the variedprintmaking processes. When considering the illustrious history ofthis organization you might make the assumption that the groupis traditional rather than progressively eclectic, but you would becompletely mistaken.Print Club President, Mary Kay DeGrandis very clearly lovesher position and is a fountain of knowledge about not only theorganization but the art of printmaking, the dealers at the fair, andthe art museum. Mary Kay first became involved in the group whenshe attended a Fine Print Fair in 1988. She became a member in theyear 2000.One of her favorite things about the club is its educationalprogramming. This educational pursuit was evident at the Fine PrintFair, where Zygote Press and the Morgan Conservatory presentedprintmaking and papermaking demonstrations in the atrium.Lectures by CMA leaders were also scheduled for each day. One ofthe lecturers, Dr. Jane Glaubinger, Curator of Prints at the Museum,is very involved in the group. Indeed, one of the many benefits ofmembership in this organization is having the opportunity to get toknow the diverse membership that includes artists, collectors, andCMA leadership and staff. The group sponsors lectures throughoutthe year. There are other activities, too, including visits to members’homes to view their print collections.As the club continues its evolution, one of Mary Kay’s endeavorsis to increase its junior membership and attract more membersin their 30s, 40s and under. Moving into the 21st century, theclub has a website, and Facebook page. They’ll continue to makeselect educational programs open to the general public, allowingnonmembers to participate, and perhaps to become membersthemselves. The Print Club of Cleveland is very unique in that it’snot defined by a physical space so much as it’s defined by the peoplewho belong to it. As long as young people keep discovering this greatorganization and its active community, the club will continue itshistory and still be around in 3016!Beth Whalley is director of Proximity Gallery.:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::CLEVELAND IS IN PROXIMITY By Robert Maschke, AIAbeth whalley and alex kelly provide great art in proximity galleryWith a vision to create a place where there is a level of comfortability amongst artists, patrons, and visitors whenthey stop by, artists Beth Whalley and Alex Kelly look to welcome you to Proximity gallery, the front room of theirhome located at 1667 East 40th Street in Cleveland’s St. Clair/Superior neighborhood.The gallery not only acts as an extension of Whalley and Kelly’sstudio/residence, but of their personalities as well. Housed in thenewly renovated Loftworks Building—a pleasantly repurposed liveworkwarehouse building now home to residents and businesses—Proximity Gallery occupies a first floor storefront facing East 40thStreet. It’s easily accessible, with surface and street parking toaccommodate. The space is deliberately raw and sparse, but sets upwell for displaying a diverse range of artists’ paintings, sculpture,installations, and talks.Whalley, a fiber artist and Kelly, a fine artist met as students at theCleveland Institute of Art and looked to pursue an opportunity toestablish an art gallery. Poised to relocate from Cleveland to newchallenges and opportunities in Portland, Oregon, a serendipitousopportunity to occupy their current gallery and home space keptthem from moving.Proximity opened in July 2010. Whalley and Kelly wanted to createa focus of emerging artists with the blending of more establishedones (such as Royden Watson and Michael Levy, both of whomhave exhibited during the inaugural year). The mix has quicklyestablished Proximity as a capable destination gallery.Open to the public, Proximity shows four to five exhibitions peryear with art openings on Fridays from 6:00PM to 10:00PMwith regular hours Saturday and Sunday from Noon to 4:00PMor by appointment while the shows are being presented. Duringopenings, beer and wine are provided within the gallery, and thevibrant Cleveland food trucks mobilize out front to offer a varietyof dining choices.The current schedule of 2012 exhibitions has not been finalized, butis available at the gallery’s website. Cash, check and major creditcards are accepted for payment.Proximity emphasizes that there is not an established agenda forthe gallery, just a passion to display and sell high quality workthat Whalley and Kelly enjoy while expanding their reach. Theyplan to continue showing more established artists blended withtheir consistent display of local, talented emerging artists. Withthis approach, the gallery looks to become another established artsanchor in the evolving St Clair/Superior neighborhood.Robert Maschke, AIA is managing director of 1point618 and principalof Robert Maschke Architects:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::Location 11150 East Blvd, ClevelandPhone 216-707-2579Web printclub@clevelandart.orgFacebook The Print Club of ClevelandMISSIONThe Print Club of Cleveland’s purpose is to stimulateinterest in an appreciation of old and contemporaryprints, to augment (by purchases and gifts) the printcollection of The Cleveland Museum of Art and toencourage private collecting of prints. The clubannually distributes to its members a print which hasbeen commissioned by the club.A BRIEF HISTORYThe Print Club of Cleveland was founded in 1919 bycollectors of fine art prints and has continually been asource for print collectors in the Western Reserve since itsinception. It is the oldest affiliate group of the ClevelandMuseum of Art. The Print Club has hosted the annualFine Print Fair since 1984. The Fair invites 14 dealers fromacross the country, hand-picked by Cleveland Museumof Art curator of prints Jane Glaubinger. Each year adifferent dealer is invited for the 3 day fair. The dealersnot only sell art but educate the fair visitor. Educationalactivities including, talks by curators, museum directorspage twenty four : : : north east ohio collective arts network journaland print dealers continue throughout the weekend.Printmakers and paper conservationists from ZygotePress, Morgan Conservatory, and the IntermuseumConservation Association offer demonstrations. Almost1,000 people attend.Other Print Club events include gallery talks at theCleveland Museum of Art, house tours of members’homes to view their collections, special lectures bycurators, artists and printmakers and curator led trips tovarious museums and private art collections throughoutthe United States.Preparations for celebration of the club’s 100thanniversary are underway, including plans to partnerwith various galleries and printmakers throughoutthe city.UPCOMING EVENTSFine Print FairSeptember 28, 29 and 30, 2012Photo: print club of clevelandExamining prints at the Fine Print Fair.Proximity gallery.Photo: beth whalleyLocation 1667 E 40th Street, Suite 1A, ClevelandPhone 216.262.8903Web www.proximitycleveland.comEmail info@proximitycleveland.comFacebook Proximity ClevelandGallery HoursSaturday & Sunday: 12-4pm (during exhibition dates)Additional hours by appointmentA Brief HistoryProximity opened in July 2010, launched by artists AlexKelly and Beth Whalley. In early 2010 they were lookingto find a new apartment and learned that the storefrontand adjacent living space in the Loftworks buildingwas available. After a few years toying with the idea ofopening an art gallery they decided that this was morethan mere coincidence, so they acquired the spaceand started the gallery. Their most significant shows so farhave been solo exhibitions of two established Clevelandartists: Mere Witness: Photographs by Michael Levy inJune 2011 and So – Recent Works by Royden Watsonin September 2011. The gallery has shown a variety ofmediums: drawing, painting, photography, printmaking,textiles, and sculpture.MissionProximity is a “gallery without an agenda” that aims toshow significant works of art in all mediums by both upand-comingand established artists.Upcoming Shows2012 shows to be announcedcheck in early 2012 fora schedule.north east ohio collective arts network journal : : : page twenty five

ed dot projectriver galleryPLAYING THE PART OF THEO By Peggy Spaethin the interior design marketplace, red dot project represents artistsOne of the complexities of being an artist is that you have to do it all: make the art, photograph it, market it, andtry to sell it. Who has time for all of that?It’s not a rhetorical or flippant question. For all its cultural import,art is essentially a consumer product. In the case of nearly all otherconsumer goods, the making and the selling are viewed as differentoccupations, delegated and sub-delegated to paid professionals. Butindividual artists rarely have this luxury. Few of them have brotherslike Theo Van Gogh, who promoted and sold Vincent’s work.So there is a missing link between the artist and the consumer thata gallery can fill, but because art is by nature a highly individualizedproduct, each gallery tends to carry specific genre or families of art.In Northeast Ohio Red Dot Project has stepped in to fill the crucialneed to match art and consumers with a highly personal service.Founded in 2005 by long-time art gallery owner and entrepreneurJoan Perch, Red Dot Project was inspired by Pierogi Flat Files inNew York. The intent was to make original artwork available bystoring a wide variety of media in flat files, and eventually online.Red Dot Project represents more than 100 Northeast Ohio artistsin a wide variety of media, reflecting its mission to create economicopportunities for artists. Any artist may apply to be included inthe collection. Artists the Red Dot Project represents are selectedby a peer review process. Criteria for selection include the artist’scommand of the material, and the overall quality of the art.Project Director Christy Gray—whose experience is both as an artistand an interior designer—provides a link between the artist and theclient, typically a small or medium-sized business looking for artbecause they are moving or renovating. The client does not pay a fee.Like a commercial gallery, Red Dot earns a percentage of the saleprice of the art.Even if art is viewed as a consumer product, selling it is unlike thesale of commodities, or impulse products. Selling art is a process.At RDP, the process begins when Gray meets with the client andassesses their needs. Factors under consideration are individual taste,space, and budget. Red Dot Project uses a searchable database thatmakes the art selection process easier and faster. Because Gray isfamiliar with a wide range of artists, sometimes she will suggest acommissioned piece customized to the client.In the summer of 2011, Red Dot Project provided the art for TheCleveland Museum of Natural History’s Smart Home, a passiveenergy model home. The selected art was based on the fundamentalsof sustainability. The pieces were made from natural or reclaimedmaterials, created in a studio where environmental processes werein place and/or reflected in content or theme views of our world andenvironment.Red Dot Project provides a very personal and crucial connectionbetween the creative community and clients in Northeast Ohio.Peggy Spaeth is executive director of Heights ArtsA COMPELLING COMBINATIONriver gallery has a passion for group showsRiver Gallery is a white wall gallery, representing emerging and established artists from the Cleveland area. Thegallery is located on Old Detroit Road in Rocky River, a charming shopping area that was recently revitalized witha streetscape make over. The pedestrian friendly neighborhood is packed with restaurants and galleries. RiverGallery and its neighbors Devout Home and Mitchell Sotka Ltd., are the longstanding arts businesses in the OldRiver Shopping area.River Gallery’s current exhibit, Cleveland Craft Masters, featuresthe work of David and Roberta Williamson, Pamela Argentieri,Matthew Hollern, William Brouillard, Judith Salomon and BrentYoung. It’s the kind of exhibit, collectors can expect from the gallery.G. Ara Hamamjian, the gallery owner, is incredibly proud of thecurrent exhibit, “This exhibit is a compelling combination of artistswho have a long-time relationship with the gallery, plus two artistsnew to River Gallery,” he says. “All of them have impressive localreputations and all are nationally recognized.”A real labor of love, it is obvious that Hamamjian and gallerymanager, Mark Yasenchack have a passion for curating groupexhibits and providing established and emerging local artists witha finely tailored and professional presentation. “The relationshipsI have made with artists have been inspiring and incrediblyrewarding.” Hamamjian adds.By Mark YasenchackFounded in 1970 by his parents George and Sara Hamamjian,Ara grew up surrounded by art. After graduating from Ohio StateUniversity, Ara enrolled in the Picture Framing Academy in SanFrancisco, honing his skills and developing a love for the craft. Anartist in his own right, Hamamjian dresses flyfishing flies. Bothfunctional and decorative, they are ornaments of hook, fur andfeather. He instructs fly-tying workshops at the Cleveland Museumof Natural History. Developed from his love of flyfishing he is also aguide on the Rocky River for other enthusiastic fly-fishers.In 1994 Hamamjian purchased the gallery from his parents andpursued a different course by focusing on independent studio artists,as well as establishing collaborative relationships with professors andalumni of the Cleveland Institute of Art, Kent State University, andBaldwin-Wallace College.The support and enthusiasm of River Gallery patrons is clearlyevident in the success of the annual Ceramics Invitational Exhibitevery April. Since 2005, this exhibit has grown to feature the workof over 30 ceramicists. The 2012 exhibit will open Saturday April28th, 2012.The first exhibit of the 2012 season, will be the annual photographyexhibit. This will feature new works by Mark Inglis, Jessica Maloney,Chad Gordon and Dan Morgan. These photographers havedeveloped unique and inventive methods of creating compellingcontemporary photography. This exhibit opens Saturday, February4th, 2012.Both Ara and Mark enjoy the discovery of exciting new work bytalented artists of the Cleveland area, and sharing that dynamic withRiver Gallery patrons.River Gallery seeks artists year-round.Mark Yasenchack is gallery manager of River Gallery::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::Location 1900 Superior Avenue, Suite 117, ClevelandPhone 216.664.9600Web Christy@reddotproject.orgFacebook Red Dot ProjectTwitter REDDOTProjectMISSIONRED DOT Project puts the work of Northeast Ohio artiststogether with clients who want to enliven their work andhome environments. As a non-profit organization, we domore than just sell art. We build community relationshipsand develop new markets for artists as entrepreneurs.A BRIEF HISTORYFounded in 2005 by artist, gallery owner and artsentrepreneur Joan Perch, RED DOT Project maintainsartists work in flat files and digital images, rather thanspace-intensive gallery displays. The flat and digitalfiles can be easily viewed by clients who wish to takeadvantage of the region’s thriving creative class.Previously, Perch was owner of ArtMetro Gallery, andcreator of the ARTcade—a collection of galleries thatbrought life to the otherwise mostly vacant ColonialArcade in Downtown Cleveland. Christy Gray, nowpage twenty six : : : north east ohio collective arts network journalproject director of RED DOT Project, has been involvedwith the organization since its inception. Gray’s textile artcan be found in private collections throughout NortheastOhio. Since its inception in 2005, RED DOT Project hasprovided real sales opportunities for visual artists andarts businesses totaling more than $500,000.Photo: Keith berrSusan Danko, Dissolution, Nordson Corporation installation.River Gallery.Photo: mark yasenchackLocation 19046 Old Detroit RoadRocky RiverPhone 440.331.8406Web www.rivergalleryarts.comEmail rivergalleryarts@yahoo.comFacebook River GalleryGALLERY HOURS11 a.m. to 6 p.m. Tuesday through Friday11 a.m. to 5 p.m. SaturdayClosed Sunday and MondayOr by appointmentMISSIONExhibiting nationally recognized and emerging artistsfrom the Cleveland area.A BRIEF HISTORYRiver Gallery was founded in 1970 by George and SaraHamamjian,. Their son Ara, the gallery’s current owner,therefore grew up surrounded by art. After graduatingfrom Ohio State University, Ara enrolled in the PictureFraming Academy in San Francisco, honing his skills anddeveloping a love for the craft. An artist in his own right,Hamamjian dresses flyfishing flies. Both functional anddecorative, they are ornaments of hook, fur and feather.He instructs fly-tying workshops at the Cleveland Museumof Natural History. Developed from his love of flyfishing heis also a guide on the Rocky River for other enthusiasticfly-fishers.In 1994 Hamamjian purchased the gallery from hisparents and pursued a different course by focusingon independent studio artists, as well as establishingcollaborative relationships with professors and alumniof the Cleveland Institute of Art, Kent State University,and Baldwin-Wallace College.UPCOMING EXHIBITSMark Inglis, Jessica Maloney, Chad Gordon, Dan MorganOpening February 4, 2012Animal-Themed Art ExhibitOpening March 17, 2012Interested artists, please contact the galleryAnnual Ceramics InvitationalOpening April 28, 2012Interested artists, please contact the gallerynorth east ohio collective arts network journal : : : page twenty seven

screw factory artistssculpture centerNOT SCREWING AROUND By Ross Leskolakewood industrial space has become a haven for artistsIn recent years, an industrial space in the southeast corner of Lakewood has grown into a busy community of artistsand craftspeople who cooperatively coordinate open houses and sales. Gallerist Ross Lesko spoke with ceramicartist and Screw Factory organizer Gina DeSantis.Ross Lesko: The Screw Factory is an expansive complex. Can youtell me how many artists currently have studios in the building?Gina DeSantis: There are currently more than 30 artists, workingin a wide variety of media. But there are more studios being built toaccommodate the demand.RL: What type of artwork would a visitor to the Screw Factory find?GD: We have painters, sculptors, and printmakers, but we also haveartists working in ceramic, wood, metal, glass and textiles. There arealso furniture makers and jewelry designers.RL: What goes on in The Screw Factory? Is it a place where“anything could happen” either on the walls or in the space?GD: Any artist in the building can propose and organize an eventor exhibition, and individual artists sometimes have open houses,classes and demonstrations. But I think we’re best known for ourquarterly events. We have Open Studios during the first Saturdayof May and November. Artists open their studios to the public, andvisitors have a chance to meet and interact with the artists. I thinkit gives visitors a context and a deeper appreciation for the artwork.There is also the Cleveland Handmade Last Minute Market, whichis the last Saturday before Christmas.RL: Is the Last Minute Market an Open Studio event as well?GD: The Last Minute Market is organized in conjunction withCleveland Handmade. It’s a combination of vendors and openstudios. The event is in its third year. The first year, three thousandpeople attended—the second year, attendance grew to four thousand.RL: What role does the Screw Factory play in the ClevelandArts scene?GD: We have a diverse bunch of artists here, from recent collegegraduates to artists who are retired from teaching. We have artists atevery stage of their careers, working in every type of media.RL: What does the Screw Factory do that no one else does?GD: It’s an interesting balance of open studio events and classes—several artists in the building teach classes in their studios. Also, weare in a suburban location. We appeal to art-minded shoppers whowouldn’t necessarily go downtown, but still want to buy local art.There is a comfort level here that people might not experience in agallery; it’s less intimidating. They can walk into a studio and seehow things are made. They can walk into a ceramic studio, see thewheel and the kilns. They can meet the artists, see the process andask questions. There are kilns in this building that are large enoughto fit several people inside. Visitors enjoy seeing that. They get asense of the process rather than just the final result.RL: Why would someone from out of state be interested in visitingthe Screw Factory?GD: There’s an interesting history to this building. It was formerlythe Templar auto plant, and in that regard, something has alwaysbeen made here. I think an out of state visitor would be interestedin seeing how our industrial spaces are converted and repurposed.I think that’s something Cleveland is known for; reusing these oldbuildings, often using them for the arts. We also have such a diversegroup of artists and art, there’s really something for everyone.RL: What would you tell an out of state visitor about Cleveland?GD: Cleveland has a very diverse population, and that’s reflected inthe art and artists as well. I think that’s one of the things that makeCleveland so great. There are so many people from so many differentbackgrounds, cultures and histories. We have every walk of lifehere—every demographic is represented. The affordability of studiospace and the existence of a place like the Screw Factory shows thatthe Cleveland area supports the arts and artists and wants to keepcreative people here.RL: By contrast, what would a local Clevelander get out of a visit tothe Screw Factory?GD: Many of the artists who have studios at the screw factory haveartwork at various galleries or shops around town, but visitors tothose venues rarely get a chance to see the artists at work. At theScrew Factory, visitors get to meet the artists in person, and see thestudios where the work is created.It’s nice to touch base with customers and meet people who arebuying your artwork. That face to face relationship is really nice.There’s a personal aspect where everyone who walks through thedoor is going to meet a local artist and learn a little bit about theirstory, it’s little more than just artwork—it’s an experience.Ross Lesko is Gallery Director at Kenneth Paul Lesko Gallery.:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::SITE SPECIFIC By Liz Maugansthe sculpture center carves out a space for the continual evolution of 3-d artThe busy Euclid corridor rattles with the excitement of new cultural propositions among the historic fixtures thatanchor University Circle. This is the Sculpture Center’s neighborhood. Situated at the eastern edge of the Circle,among interconnecting, multi-purposed buildings, The Sculpture Center evolved through the vision of its founder,the noted sculptor David E. Davis.The Sculpture Center is one of the few venues in the country—and the only one in the Midwest—to exhibit only sculpture andinstallation work. The organization is also unique in its ongoingseries of exhibitions focusing on sculpture by early career artists ofthe region. These shows provide a window to the concerns of upand-comingartists: the names of tomorrow.Indeed, the centerpiece of the Center’s exhibition schedule is theW2S (Window to Sculpture) Emerging Artist series. The seriesannually presents six solo exhibitions by early career artists whohave Ohio roots. Four curated exhibitions and a thoughtfully juriedgroup exhibition round out a year’s offering.Unlike venues that look retrospectively at artists’ past work, theSculpture Center usually exhibits works made specifically for thevenue. Because of this, the occasion of a Sculpture Center solo showoften provides a new direction for the artist. The galleries may oneseason be filled with the metal sculptures of Richard Hunt thathave never been seen outside his studio, and the next season witha startling array of mixed media pieces that are concerned withthe darker side of consumerism, environmental damage, geneticengineering, and industrialization.Executive director Ann Albano and her bright, involved stafffrequently guide visitors through the exhibitions and chime-inabout the interpretive levels of the sometimes challenging work onview. Additional wall text and brochures are available and revealmore insights. The artists speak informally at every opening and arealways impressed by the level of dialogue and connection peoplehave to their work.The Sculpture Center advocates a philosophy of promoting fluid,open-ended programming with other collaborators to allow thegreatest freedom of expression. For example, a series of concertperformances by the FiveOne Experimental Orchestra (a group ofsixteen composers and musicians with a ‘no-boundaries’ approachto music) offers music composed in response to works on exhibit,adding a new dimension to their visual output. Likewise, artistswith solo exhibitions in the Euclid Avenue Gallery are encouragedto invite another artist to exhibit in an adjacent space (known as ThePlatform), which enables the audience to make connections with theartists interests and influences farther afield.The boom of new construction in University Circle, and theanticipated increase in tourism promise a great future for theorganization. To complement that growth, the Sculpture Centeris focused on expanding its presence in the region. They anticipatemore collaboration with the Cleveland Institute of Art, MOCACleveland, and universities across Ohio.Beyond its own exhibits, the Sculpture Center aims to educate thepublic—and students, in particular—about art and sculpture ingeneral, and Ohio sculpture in particular. For example, ceramicartist Elizabeth Emery facilitates 3D art making classes for afterschool programs at elementary schools in the Cleveland MunicipalSchools District, Cleveland serving kids who otherwise have littleaccess to the arts.The Sculpture Center’s website is another informative gem. Itscontent is well designed, and constantly updated with rich materialabout artist opportunities, event links, and on-line resources.Key among its reference features is the Ohio Outdoor SculptureInitiative, an online registry of more than 1,000 sculptures aroundthe state. The OOSI inventories sculpture in the large urbanareas of Ohio with photos, as well as bibliographic details anddocumentation of their condition. An ongoing partnership withthe CSU Michael Schwartz Library has made the database moreaccessible. Future plans include posting OOSI information ona Yahoo Flickr page to use crowd sourcing as a way to fill in theblanks, update images, and encourage information exchange. ThisWIKI-history will benefit scholars, teachers, librarians, and anyonecurious about their community. With its strong emphasis uponpreservation, OOSI supports the belief that public art adds to acommunity and gives us all a level of pride.The Sculpture Center is rare in its mission to showcase sculpture andinstallation art, which are not the easiest art forms to make, ship,install, exhibit, sell, and maintain. The organization continues tocelebrate new, innovative, renegade works by our region’s emergingsculptors and installation artists while, at the same time, dedicatingthemselves to the great monuments and landmarks that are symbolsof this town’s resilience and strength.Liz Maugans is executive director of Zygote Press.:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::LocationPhoneWebsiteEmailFacebookThe Lake Erie Building,13000 Athens Ave, Lakewood216.521.0088 (Omni Management)www.screwfactoryartists.comscrewfactoryartists@gmail.comScrew Factory Artists (group page)GALLERY HOURSBy appointment along with four open studio eventseach year.MISSIONThe Screw Factory Artists is an artist-run collaborative thatorganizes events and otherwise enables resident artiststo make, show, and sell their work. Quarterly Open Studioevents and annual sales attract thousands of visitors,which enables Cleveland area artists to earn incomeand recognition from their work.A BRIEF HISTORYInitially built as the Templar Auto Factory, the massiveindustrial complex at 13000 Athens Avenue, in theSoutheast corner of Lakewood, was the longtimemanufacturing headquarters of the Lake Erie ScrewCorporation. After LESC moved its headquarters outof the state, leaving the building largely empty, artistspage twenty eight : : : north east ohio collective arts network journalbegan to move in. The Screw Factory is now home tomore than 30 working artists, producing works in glass,ceramic, wood, fiber, and other materials.UPCOMING SHOWSOpen Studios10 a.m. – 6 p.m. Saturday, May 5th10 a.m. – 6 p.m. Saturday, November 3rd10 a.m. – 6 p.m. Saturday, December 15th (in conjunctionwith the Cleveland Handmade Last Minute Market)Visit our website for additional events.Photo: Martin O’Connor“Ambassador Lanes,” oil on canvas, by Screw Factory artist Martin O’Connor.Euclid Avenue storefront.Photo: The sculpture centerLocation 1834 East 123rd Street, ClevelandPhone 216.229.6527Web www.sculpturecenter.orgEmail info@sculpturecenter.orgFacebook The Sculpture CenterHOURSWednesday through Friday: 10 a.m. to 4 p.m.Saturday: noon to 4 p.m.Other weekday times by appointment.MISSIONThe Sculpture Center is a not-for-profit arts institution dedicated to theadvancement of the careers of emerging Ohio sculptors, and to thepreservation of Ohio outdoor sculpture as a means to provide supportfor artists and to effect the enrichment, education, enjoyment, andvisual enhancement of the Cleveland community and greater region.HISTORYThe Cleveland artist David E. Davis and his wife Bernice SapersteinDavis founded The Sculpture Center in 1989. The two wanted to makea meaningful contribution to the cultural life of Cleveland and tohelp young Ohio sculptors stay in the state by giving support at thedifficult time in their careers when they were starting to make a namefor themselves. The Sculpture Center’s exhibitions now encompasssculpture, installation, and multi-media work by artists of the greaterregion of Ohio, contiguous states, and Ontario, Canada. The SculptureCenter has conserved, restored, and maintained 36 outdoor publicsculptures in Cuyahoga County. It continues to offer the web-basedOhio Outdoor Sculpture Inventory (OOSI) and occasional symposiaon preservation as a public resource.COMING EVENTS2012 W2S SERIES (Jan – May)Linda Ding: New WorkScott Stibich | Lauren Yeager: Familiar MachinesJanuary 20 – February 18, 2012Cozette Phillips: in-betweenElizabeth Emery: New WorkMarch 9 – April 6, 2012Sarah Paul: Little Miss Cleveland & the Flaming SunsetLauren Herzak- Bauman: PassagesSarah Ann BakerApril 27 – May 26, 2012Summer ExhibitionJune 8 – July 14Johnny Coleman: Procession: Song of the Underground RailroadSeptember 8 – October 20Mario Kujawski: A life in ArtNovember 2 – December 21north east ohio collective arts network journal : : : page twenty nine

Spaceswilliam busta galleryIT’S ABOUT THE RIDE By Nancy Heatonspaces takes artists and audiences on a journeySPACES was conceived as an alternative to the Cleveland’s traditional galleries, a place where artists could exhibitexperimental work that might otherwise not be accessible.Founded in Playhouse Square in 1978, and moving to theWarehouse District in the 80s—at a time when the neighborhoodwas largely vacant, and buildings were being demolished to makeparking lots, the gallery has always been a center of intriguing, evenaesthetically challenging activity for its neighborhood. SPACESwas known as the place in town to find the kind of art objectsthat fell outside the limits of traditional galleries. Installation artwas a primary focus, complemented by exhibits of photographs,sculptures, drawings and works in other traditional media, oftenwith a theme.The venue moved across the river in 1990, when it bought a buildingon Ohio City’s Superior Viaduct. The SPACES experience hasshifted in recent years, but it continues to transform lives and theway people look at art.Today, as the way we experience art globally and personally hasshifted, the making of art has become an interdisciplinary practicewhich overlaps into a wide range of other areas. SPACES embracesthis expanding outlook by focusing on experiments which explorenew directions with ideas through various media and disciplines.When you come to an opening, expect on- the-spot inventionsand collaborations, with hands on and eyes open. As the audienceyou will be more engaged, the artist is given more freedom and thepossibilities become endless and unknown.In other words, SPACES does not curate ART, but ARTISTS andthe creative experience of experimentation. Being unrestricted bythe traditional gallery structure allows artists a whole new rangeof artistic expression, with support that is often unheard of intraditional settings. There are still things on the gallery walls, butnow artists working at SPACES have complete freedom and supportto do more, to challenge themselves and the audience. The audiencebecomes involved in the process, leaving doors open to interpret,challenge and chime in, exciting the senses!A look at SPACES’ programs gives an idea how this all plays out.The R&D (Research & Development) program invites artists,curators and other cultural producers to articulate their research anddevelopment of ideas and objects through a supported exhibitionor project. These exhibitions and projects may be group, solo, orcollaborative endeavors.The Vault—a converted, walk-in safe that came with thebuilding—functions as a digital media flat file: there audiencescan experience a variety of video and audio art. Work is added ona rolling basis, and remains on view for approximately six months.Viewers have the remote control in their hands to select the workthey would like to view.SPACES World Artists Program (SWAP) is a residency initiative thatinvites local, national and international artists to spend significantperiods of time in Cleveland neighborhoods to create experimentalwork. SPACES provides SWAP artists with support for the creation,exhibition and discussion.What about artists who still use traditional media to make things?While the gallery’s programming is intended to mark a deliberatebreak from traditional galleries, as long as the artist’s focus isexperimental and as long as it’s about pushing boundaries, there isspace at SPACES: in the words of Executive Director Chris Lynn:“It’s about the ride, not the destination.”Nancy Heaton is executive director of BAYarts.MORE OF THE SAME By Alenka Bancowilliam busta gallery offers continuity for both artists and audiencesWilliam Busta says the gallery that bears his name is more about Cleveland than it is about art. William Busta Galleryis based on his conviction that art is one of the ways that we enter into dialogue with the past and in which wecontribute to the future.The owner-operated gallery has called Cleveland home since itfirst opened in Cleveland’s Murry Hill neighborhood, back in1989. Having been located for a time in the Detroit Shorewayneighborhood, it’s now on Prospect Avenue in Cleveland’s ArtQuarter. The gallery represents contemporary artists who live andwork in Northeast Ohio, with one-person exhibitions. Busta thencontinues to represent each artist on an ongoing basis.Busta jokes, “If I look backwards, I am going to guess that I put upmore works of art than anybody else…..except an elementary schoolteacher.” He estimates that he has installed more than 250 shows.Busta decided to open his first galley because he realized whenhe was Director of NOVA (the New Organization for the VisualArts, a service organization for the visual arts) that there was asignificant void in Cleveland galleries—a need to show works by aroster of individual artists with some frequency over time. It is thatconsistency that is the strength of his gallery.Busta believes this programming means the gallery is constantlydeveloping with the artist: when an artist is only focused on oneshow, they gear up for that show and then take a sigh of relief. Whenan artist closes a show and has their next show scheduled, theybring a different attitude back to their studio. He believes that isessential in the creation of better art and better bodies of work. Thisrelationship between artist and gallery gives an artist the time todevelop an audience and then provides the audience the place to findthe work on an ongoing basis.The key to Bill’s success is his complete devotion to the process ofdiscovering the artist and of course the artists work. Busta says,“When a publisher lands Danielle Steel, all that they can say is thatthey have a deep pocket book. The real skill is in finding the nextDanielle Steel.”He believes that the sense of discovery is in part what peoplecome to the gallery for. He quickly adds that the discovery for theaudience is only possible after the curator does his homework. Theinternet has made the research process much easier, but Busta feelsthat going to shows is an important part of the discovery.Fundamentally for Busta it comes down to choices. All sorts ofreasons other than the work itself determine who he shows. Heconsiders the artist as a whole career, rather than just individualthings. “I curate the artist rather than individual pieces or individualbodies of work,” he says. Salability is never an issue for a first show.The beginning is always about the quality. Among the artists whohave had their first shows at WBG are Hildur Jonsson, Derik Hessand Laurence Channing.Busta admits that he does not know exactly why people buy art, buthe believes it deals with immortality. Art is a way that we speak. Itis a form of immortality, to have a voice through time. So whetherit is the immortality of the person who is making a piece or possiblythe person buying it, many devote their lives to the expressive object.The real audience for art is people who are engaged in the lives ofnew ideas. He feels that it is directly related to the relationship theybuild with the artist over time.All the galleries in the regional scene create a kind of Clevelandsynergy. To have a gallery that shows specific artists’ workconsistently gives the greater Cleveland audience the foundation toindelibly understand the art. Of all the exhibition places in greaterCleveland, there is a very complementary function in which we seethe individual pieces, and in which people see the work in context.Busta points out that in the end, having buyers is also a necessarypart of that synergy.So what is in the horizon for WBG? “More of the same” Billcontinues. “My formulas and methodologies are down pat, and onceyou are sixty you pretty much don’t need to change anything. Youare who you are.”Alenka Banco is director of Convivium33 Gallery.::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::Location 2220 Superior Viaduct, ClevelandPhone 216.621.2314Web http://www.spacesgallery.orgEmail Contact@spacesgallery.orgFacebook SPACESUPCOMING EVENTSMargaret CogswellChristi BirchfieldMarty WeishaarFebruary 3 – March 30, 2012Location 2731 Prospect Ave., ClevelandPhone 216.298-9071Web www.williambustagallery.comEmail bustagallery@gmail.comFacebook William Busta GalleryUPCOMING SHOWSMichael Loderstedt, MenagerieDimensional: Printed Works by Current and FormerStudents from Kent StateJanuary 6 to February 4GALLERY HOURSNoon to 5 p.m. Tuesday through SundayThursdays until 8 p.m.Closed MondayMISSIONSPACES is the resource and public forum for artists whoexplore and experiment.A BRIEF HISTORYSPACES was founded in 1978 by a group of artists lookingto found “an interdisciplinary arena for the visual andperforming arts with an interest in creating and presentingnew art including individual and collaborative works.”Since then, SPACES has gone on to feature the work ofover 9000 artists in varied thirty : : : north east ohio collective arts network journalCleveland Convention & Visitors Bureaufeaturing the work of Cleveland SGS, the ClevelandUrban Design Collaborative, Temporary Travel Office,and The Think Tank That Has Yet to Be Named.May 11 – July 13, 2012Please check for the most upto-dateinformation.Photo: spacesSpaces exterior, Big Bang opening.Opening night, as seen from the sidewalk.Photo: william busta galleryGALLERY HOURS11 a.m. to 5:30 p.m. Tuesday through Saturdayor by appointmentMISSIONWilliam Busta Gallery represents contemporary artistswho live and work in Northeast Ohio. Mostly, the gallerypresents one-person exhibitions, and then continues torepresent the artist.A BRIEF HISTORYWilliam Busta Gallery originally opened on Murray Hill inLittle Italy in January, 1989. In all, it has operated in fivelocations, including on Detroit Avenue and its currentlocation on Prospect.Christi BirchfieldJulie WeitzFebruary 10 to March 10Derf, My Friend DahmerMarch 2 to April 14Christian WulffenMarch 9 to April 14NOADA Art Expo(Northern Ohio Art Dealers Association)April 19 to 22Don HarveyLane CooperApril 27 to June 2Susan UmbenhourBarbara PolsterJune 8 to July 31north east ohio collective arts network journal : : : page thirty one

zygote pressPRESSED INTO ACTION By Karen Petersonzygote press creates opportunity and takes it to the streetsIn a funky factory space on E. 30th Street, Zygote Press reflects the best of Cleveland with a hip international flair.“I love that this building stored artillery during World War II, then dinette sets in the 50s”, explains Liz Maugans, cofounderin 1995 and Managing Director since 2006.Liz and the other three co-founders formed Zygote at a time whenuniversities happened to be getting rid of their old presses. Thefounders jumped on this great opportunity to not only preservehistorical presses, but also with an eye on sustainability, keepingthese large iron pieces of equipment out of landfills.Zygote (a single cell that divides and multiplies) got its name fromtwin facts: first, two of the organization’s founders are twins. Andsecond, printmakers by nature are drawn to the power of multiplesand multiplying creativity.After ringing the doorbell, you enter the enchanted gallery and printshop that Liz fondly refers to as a “weird runaway train” of worthyprograms and classes. There is a real fluidity of participants betweenthe programs offered at Zygote. Someone may start by participatingin a class or renting one of the (very) reasonably priced studio orlocker spaces, then they continue to grow and try other Zygoteofferings, becoming part of the fabric.Print shops by nature have a dynamic atmosphere. Liz personifiesthat, and has a true nature of getting other people excited aboutZygote. “I believe that energy comes with neighborhood growth anddevelopment. I am a huge fan of Cleveland. I continue to explorehow the arts can be an economic engine to Cleveland and how I canfoster the unexpected spontaneous connections and creativities inour region.”The traditional presses and drawers (and drawers and drawers) ofpage thirty two : : : north east ohio collective arts network journalprint-type are mixed with innovative and visionary concepts ofprinting. Zygote is proud to have a portable press in their collectionthat can run off a generator in a field (POW, the Press On Wheels);and they are in the process of designing and fabricating a bike press– allowing an artist to ride this specially designed bike anywhere,drop the kickstand, unfold a press, and get to work!Recent grads and mid-career artists with a passion for print-makingfind their way to Zygote. Empty nesters are also attracted since nowthey have the time to revisit their former artistic love. But the staff atZygote have also provided programs to retirement age people, as wellas diversified their programs to younger kids. They have developeda handy set of “Show-N-Tell Suitcases” equipped with tools of thetrade, archives of created works, technical information, curriculumideas for teachers, and more.Creating community, true collaborative relationships, and a viable live/work space for artists is extremely important to Liz. Through Zygote,Liz has taken on a leadership role in creating the Collective ArtsNetwork, responsible for the informative journal you are now reading.Liz has the infectious energy to implement and see ideas to fruition,like the Print Pony Gallop, a unique outreach machine fabricatedfrom a toy rocking horse mounted to a pressure printing rocker: as achild rocks on the horse, they create prints!Zygote’s international flavor is provided by German artists involvedin the 15 year old Dresden-Cleveland Residency Exchange Program.These artists, among others throughout the year, live in the ZPASS(Zygote Press Artist Space Share), a 1,500 square foot urban loftspace just above Zygote’s print shop.Liz Maugans is a native of Lakewood, Ohio, and received herBachelors of Fine Arts from Kent State University. She received herMasters of Fine Arts in Printmaking from Cranbrook Academy ofArt in Bloomfield Hills, Michigan. She continued to develop herleadership skills as a participant in the highly desirable National ArtsMedia and Culture Leadership Program in Portland sponsored byThe Warhol Foundation for the Visual Arts.She and her collaborators have created multiple points of access toZygote: You can find them spreading the word about old schoolprintmaking at area festivals, visit an exhibition in their galleries,take a class, or rent studio space. Come appreciate the history ofthe building and rich tradition of the presses; stay for the freshfriendliness, endorphin buzz, and the excited anticipation to seewhat vision will come to life next.Steve Jobs once said, “People with passion can change the worldfor the better.” I asked Liz if she was interested in politics,and she replied that many people have suggested she become aCouncilwoman. I would vote for her!Karen Peterson is executive director of Art Therapy Studio.:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::Location 1410 East 30th Street,ClevelandPhone 216.621.2900Web www.zygotepress.comEmail info@zygotepress.comFacebook Zygote PressGALLERY HOURSWednesday and Saturday: noon-4pmOther days: by appointmentMISSIONThe mission of Zygote is to enableartists to produce fine art prints withinan atmosphereof collective exchange by providingthem with affordable workspace andexhibition opportunities. Zygote is aresource dedicated to increasingawarenessabout contemporary printmakingby creating active communicationamongartist-printmakers and the broadercommunity.A BRIEF HISTORYFour printmakers—Liz Maugans, JoeSroka, Bellamy Printz, Kelly Novak—founded Zygote Press in 1996. Theywere motivated by a common needamong fine art printmakers—largepresses and other equipment, andthe space to house them. Thosefacilities are commonly available inuniversity art departments, but onceprintmakers are on their own, the costof such equipment and space can beprohibitive. So they coordinated theirefforts and set up shop in a buildingon St. Clair at East 72nd Street. ZygotePress moved to its current location in2006. Zygote Press gallery shows arecommonly built on relationships withother organizations, and ongoingZygoge programs, including its ArtistIn Residence (AIR) Program, In-Turn(curated by interns from area artsorganizations), its Foreign Affairs artistexchange with the Grafikwerkstatt inDresden, Germany, and 4U, whichfeatures works from students andfaculty from four universities aroundNortheast Ohio.UPCOMING SHOWSZygote Members CollectJanuary 20 - February. 18Fellow Travelers: Prints by Noel Reifeland his studentsFebruary 24 - March 30th100x100 Tax Relief Benefit PartyApril 13We Love Letterpress–Color My WorldExhibitionApril 20–thru May 19thArtsQuarter Block Party Social6-9pm June 1Juried ExhibitionJune 1–July 7IN-TURN (Summer Show)July 13–August 10Artist-in-Residence Johnny ColemanOpening September 7Dresden Exchange Program - OhioArtists in DresdenSeptember 24th to October 27thInternational Assoc. of HandPapermakers and Paper ArtistsOctober 17-21Holiday Off-the-Wall ExhibitionDecember 1 – 2Photo: liz maugansScreen prints by Jason Lehrer, drying at Zygote Press.Tremont \tree-mont\ :A historic Cleveland neighborhood connecting culture, creativity,commerce and community. A top destination for Shopping & Galleries.Popular community events include: Tremont ArtWalk (2nd Friday everymonth); Arts in August; Tremont Arts & Cultural Festival (Sept 2012)A CHRISTMAS STORY HOUSE3159 West 11th St.(216) 298-4919APERTURE2541 Scranton Rd.(216) 574-8977BANYAN TREE2242 Professor Ave.(216) 241-1209BRANDT GALLERY1028 Kenilworth Ave.(216) 621-1610THE CLEVELAND AUCTION CO.2418 Professor Ave.(216) 631-3232A COOKIE AND A CUPCAKE2418 Professor Ave.(216) 344-9433DOUBTING THOMAS GALLERY856 Jefferson Ave.(216) 351-3558ECLECTIC CLOSET BOUTIQUE2626 Scranton Rd.(216) 965-0329EVIE LOU2153 Professor Ave.(216) 696-6675LILLY HANDMADE CHOCOLATES761 Starkweather Ave.(216) 771-3333LOOP2180 West 11th St.(216) 298-5096KEVIN BUSTA FURNISHINGS2673 West 14th St.(216) 206-6022MASTROIANNI PHOTOGRAPHY2688 West 14th St.(216) 235-6936PAUL DUDA GALLERY2342 Professor Ave.(216) 589-5788P.D. WHITE FURNITUREMAKER767 Starkweather Ave.(216) 298-4114PICCADILLY’S FINE ART GALLERY2253 Professor Ave.(216) 344-1800PINKY’S DAILY PLANNER2403 Professor Ave.(216) 402-2536ROBERT HARTSHORN STUDIO2342 Professor Ave.(216) 403-2734RECYCLED BOWTIQUE2687 West 14th St.(216) 615-7074THE NEST2379 Professor Ave.thenestintremont.comSTEELYARD COMMONS3447 Steelyard Drive(216) 381-2900VISIBLE VOICE BOOKS & MUSIC1023 Kenilworth Ave.(216) 961-0084WINE & DESIGN751 Starkweather Ave.(216) 781-80002406 Professor Avenue Cleveland, OH 44113(216) 575-0920 www.tremontwest.orgOhio City is proud to support theCollective Arts Network JournalThank you for highlightingthe region’s treasured 1975) Serving Old Brooklyn &Brooklyn Centre CommunitiesIs this what your headfeels like after looking through allthose health insurance plans?We can help.You’re an artist. You’re an entrepreneur. But you’re not a healthinsurance expert. That’s why we’re here. We can save you 10 percentin just 10 minutes. 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Decades of invention, reinvention, and revivalSomething’s Happening HereNorth coastal sangfroid notwithstanding, it’shard to deny that this is an exciting time to bean artist in northern Ohio, and especially inCuyahoga County.After decades of uneven growth in what issometimes referred to as the arts sector, activity isfinally reaching critical mass. Much of this mustbe due to the $65 million in tobacco tax moneydistributed to County arts organizations andindividuals since 2007. Cuyahoga Arts and Culture(CAC) reportedly has generated a whopping $280million in economic activity through the localorganizations it supports, and their five thousandemployees – all of this in a county whose populationis 1.28 million.In 2011 alone, CAC working through theCommunity Partnership for Arts and Culture (CPAC)distributed twenty Creative Workforce Fellowships,nourishing talent with that rarest and most welcomeof art supplies, cold hard cash, spreading around $400grand in smoking money to area artists out of a totalannual disbursal of $15 million.The somewhat unbelievable fact that CuyahogaCounty is now one of the top five arts funders in thenation has got to be having a warming effect on localmorale, as well as hometown economics. Nearly everyweekend gallery openings are featured around thecity, from Collinwood to downtown, Tremont to BayVillage. Popular cooperative events like the West 78thStreet Complex’s monthly Third Friday events attractthousands of visitors.At the upper end of the spectrum, The ClevelandMuseum of Art is nearing completion of its seven year,$350 million renovation, and has further announcedplans to open a branch for the first time on the westside in Ohio City in collaboration with nationallyprominent Akron art collectors Fred and LauraBidwell. Meanwhile the Museum of ContemporaryArt has broken ground for its own new $26.7 millionbuilding in University Circle.In this almost convulsively regenerative context,the Collective Arts Network Journal project,bringing together twenty-eight small and midsizeorganizations, is one more instance of a culturalBy Douglas Max Uttertide which, despite tough times here and elsewhere,is raising a lot of boats. And granting that CAN’seconomic scale is more modest, surely this is the firsttime that so many disparate Cleveland-based artsbusinesses ranging from private galleries to printworkshops and community arts centers have workedtogether. There is a sense that such proliferation andcooperation taken as a whole add up to an excitingnew development in the region.Change is in the air, but how different is the realityof our corner of the art world compared to the state ofthings twenty or thirty years ago? One way of puttingit all in perspective is to imagine the Cleveland artscene minus the current CAN members, and withoutthe many others around town who aren’t part of itsnetwork. Say that the Cleveland Museum of Art andMOCA, for instance, were to stand alone – like theTerminal Tower and one or another of CuyahogaCounty’s more up-to-date skyscrapers. What sort ofview would we have?To answer that question, residents over fifty needonly remember what the scene was like for artists,Photo: LAND studio/cleveland public artcollectors, and audiences in the late 1960s. Then asnow there were galleries, though far fewer of them,run by people who believed in the power of art and inthe potential viability of a local art scene.For a long time MOCA itself, founded as the NewGallery by Marjorie Talalay and Nina Castelli Sundellin 1968 in its original location on Euclid Avenue, wasa small, struggling outfit, though linked (throughSundell’s father, gallerist Leo Castelli) to the largerworld of contemporary art as it existed in New York atthat period. And there was more, of course —actuallymuch more.A partial account of the slow growth of SPACESfrom its beginnings in 1978, and the development ofartist service networks like the New Organization forthe Visual Arts (NOVA) during the 1970s and 1980s,plus ongoing contributions by a number of seeminglyindestructible gallery owners and arts activists, can befound in William Busta’s 1998 essay, “Howling at theEdge of the Renaissance: SPACES and Alternative Artin Cleveland.”Busta himself is a member of CAN, and an ironcladsurvivor of Cleveland’s vicissitudes in his own right.In 1980 he was the young executive director ofNOVA, and went on to open the first of his severalambitious galleries in 1989. His essay celebratingSPACES’ twentieth anniversary outlines the ebb andflow of contemporary art through the city duringrecent decades, naming many of the key players.Among the highlights were the Performance ArtFestival, founded by James Levin and run by ThomasMulready; the founding of Cleveland Public Artfollowing a conversation at SPACES in 1984 betweenDon Harvey and Kathy Coakley; and the freeformexhibitions of the extraordinary Art Without Wallsgroup during the early 1990s. Among its other virtuesthis brief history serves as a bracing reminder of justhow severe our collective amnesia can be. A whole lotdid indeed happen in the arts in Cleveland betweenthe Kennedy administration and 9/11.Busta doesn’t shrink from the fact that theautomobile had a lot to do with the developmentof the broad socio-economic area now referred toas Northeast Ohio, and the concomitant increaseof communication between widely separated artscommunities – a cultural expansion that began inearnest around 1961. That was the year, not longafter the completion of the Ohio Turnpike, thatCleveland Museum of Art Director Sherman Leeexpanded the geographic area for the Museum’sannual May Show. Instead of limiting eligibility toartists living in Cuyahoga County, the prestigiousexhibit would accept worksfrom anywhere in theWestern Reserve – a stripof territory about 120 mileslong that includes Akron,Kent, and Youngstown.During the 1970s Ohio’sInterstate Highway Systemneared completion, pullingthese places ever closertogether. For good or ill theimpact was felt everywhere,and especially at the MayShow. It’s probably fairto say that among thetwo hundred or so artistsincluded every year in theexhibit, a disproportionatenumber continued to travelno farther than the half ablock distance across WadePark Oval, where instructorsat the Cleveland Instituteof Art made their art. ButCIA wasn’t the only artschool anymore. Kent StateUniversity’s art departmentbecame a major playerin the region, supplyinginspiration, art, and boardmembers to the fledglingSPACES organization inImage by Sara E. Darby.particular. When ClevelandState University hired itsown young faculty in theearly 1970s, was a deliberately unstable hybrid, partlate 1970s the city began to develop a whole new performance, part intervention, packed full of ideascommunity of serious younger artists, bolstered also about time and change, and perhaps about the then vibrant Cooper School of Art.In any case, less than five months later the infamousMany of these new artists were interested inKent State shootings took place, and shortly afterwardexploring ideas (as much or more than making someone painted the words “MAY 4 KENT 70”objects) and there was considerable cross-fertilization above a window of the slowly collapsing out-building,from art worlds outside the northern Ohiocreating a makeshift memorial that lasted for moremicrocosm. One example was Robert Smithson’s than two decades.“Partially Buried Woodshed,” made with a backhoe I dwell for a moment on Smithson for two reasons—and the help of several enthusiastic sculptureto underline how many connections there have beenstudents in January of 1970 on the KSU campus. between the Cleveland area art scene and artisticThe thirty-two year old pioneer of post-minimalist developments elsewhere, and also because as I re-readenvironmental sculpture (who died three years later “Howling at the Edge of the Renaissance” I was struckin a plane crash) had been invited by the students by the prominent part that very innovative alternativeto lecture at the University, during which time he art forms, especially performance and installation,stayed at the home of Brinsley and Lillian Tyrrell. His have played in the history of Cleveland art over the“Woodshed,” like much conceptually based art of the past forty years. For whatever reason, in an alwaysPhoto: sara e. darbypage thirty four : : : north east ohio collective arts network journalnorth east ohio collective arts network journal : : : page thirty five

shrinking, often conservative city, Cleveland hasproduced formidable number of avant-garde eventsand venues. This has been so even though both CMAand CIA long ignored such innovation; and despite itsorigins in the ferment of the 1960s , The New Gallery/ Cleveland Center for Contemportary Art / MOCAwas also slow to hostimprovisational orperformance-relatedworks. But from thebeginning SPACESmade performance,installation, andconceptual art formsan integral part of its programming, alongsidetraditional two and three dimensional media.Cleveland Public Theater was another crucial sourceof inspiration for artists seeking to expand theirexpressive range into a theatrical, public dimension.A further, interestingly populist tendency that alsorepresented its own broad constituency among localClasses for kids at Art House.artists has been the two decade run of The People’sArt Show at Cleveland State University’s gallery.Resolutely unjuried and committed to freedom ofexhibition, PAS was from the beginning a progressiveregressivepublic event that defied all categories andoften left local pundits scratching their heads.At this point it should be noted that CMA’sconservatism wasn’t always a bad thing. It’sunfortunate that younger artists can no longerremember what the Museum did accomplish inrespect to the local scene prior to 1990, because in factit was long the backbone of Cleveland’s art economy,crucial to its self-image for seventy years.Mainly that was due to CMA’syearly May Show, which was the mostdistinguished of Ohio’s several springtime museum exhibits (Cincinnati,Columbus, Toledo, and Dayton allhad their own, plus Canton’s AllOhio Show and the Butler Museum’sNational Midyear Exhibition inYoungstown). Every year it took up aquarter of the Museum’s exhibitionschedule, and a correspondingpercentage of the budget for travelingexhibitions. It was an elegant andrespectfully presented selection of asmany as three hundred works of artby around half that number of artistsselected from a pool of as many as1000 by a variety of distinguishedjurors, often recruited from around thenation. The jurors tended to consultwith museum staff familiar with theins and outs of the local scene, andthe result was a comprehensive salonwhich audiences and collectors usedto keep track of both up-and-comingartists and established figures, servingas a professional benchmark, and as akey marketplace in its own right forthe sale of contemporary art.Startling—at least to those usedto the modest attendance figures typical for fine artsevents, including non-blockbuster museum shows—were the sheer numbers attracted to this old-fashionedexhibition: in the 1980s the May Show’s yearlyattendance regularly reached 100,000 visitors. That’shard to beat, and in fact nothing has come close to"Political climates change, funding ebbs and wanes, galleries die, andnewspapers run out of ink and subscribers, but artists continue their work."Photo: art housefilling the hole left in the Cleveland art scene’s heart bythe exhibit’s cancellation in the early1990s. It wouldbe interesting indeed to see just what would happenin northern Ohio’s newly vigorous scene if CMA putout an open, thirteen county-wide call for entries,perhaps in the spring of 2013, to celebrate architectRaphael Viñoly’s expansion. Such an event wouldcertainly break the ice with both the arts communityand wider audiences after a long seven years, duringwhich time much of CMA’s magnificent collection wasunavailable.For some of this article I’m drawing on knowledgegained as a writer who covered local arts eventsfor more than twenty years, and also on my ownexperience as an occasional participant situatedsomewhere off-center in respect to the city’s art life.I was twenty-two in 1973, when I submitted an oilon canvas study of a Braque-like nude male figureto a show mounted at NOVA’s little upstairs gallerylocated at Huron and Prospect Avenues. The workwas accepted, hung around for a month, and thenI fetched it – an anti-climactic routine I would getused to in later years. I made a second foray in 1982,entering a Matisse-influenced, brightly coloredacrylic painting of figures in an interior to anothersecond-tier exhibit held in downtown Cleveland. “TheGreat Lakes Art Exhibit” was organized from timeto time by the Valley Arts Center and in 1982 wasarrayed around an enormous sales floor in the formerHigbee’s department store on Public Square. Not toosurprisingly, nothing much came of that experience,either.My efforts will sound familiar to any artist inCleveland who has worked at it for more than adecade or so. While all the excitement at SPACES,was going on, I got married. We had two children,and I continued to paint. Every March I dragged theLetterpress printing at the Morgan.latest canvases out of my basement studio and tookslides of them in our thawing back yard, in what mypartner laughingly called my “May Show dance.”Then in 1986 a work was finally accepted; thingsbegan to look up. I rented a studio downtown inthe Artcraft building on Superior Avenue, was onethird of a three person show (which included AnnaArnold and Brian Azzarello) at SPACES in its BradleyBuilding incarnation in January 1988, and in 1989had my first solo show at Bill Busta’s new gallery onMurray Hill Road. This followed a 1988 one-personat Joyce Porcelli Gallery, Busta’s predecessor in thesame space. It also took place in the wake of a 1987solo show at Tommy’s restaurant on Coventry, whichwas a lot of fun. And by 1989 I had begun to writeoccasional art critiques for Dialogue Magazine inColumbus and New Art Examiner in Chicago. I waspleased to show several more times during those yearsboth at the May Show (which finally ended in 1993)and at Busta’s until his closing at that location in1997. Both Dialogue and New Art Examiner also wentextinct, but I continued writing for other publicationsbased in Cleveland and out of town, and showingat other area galleries, like the late, lamented DeadHorse Gallery in Lakewood. One of my favoritehighlights of the past ten years was a 2004 residencyand show at Zygote Press as their 2004 A.I.R. artist.And I’m especially proud to have received one of thoseCAC Fellowships myself this past year.If I’ve learned anything from the ongoing saga ofdeath and resurrection that is Cleveland and its art,it would be a series of lessons about the necessity ofoptimism. Political climates change, funding ebbsand wanes, galleries die and newspapers run out ofink and subscribers, but artists continue their workand, remarkably, often multiply – despite surroundingconditions. Having said that, I believe strongly thatcurrent conditions are right for a true renaissance (orthe completion of a century-long, first-time birth) innorthern Ohio. The “howling” phase of Cleveland artmay finally be over.Douglas Max Utter is an artist and freelance art critic inEast Cleveland.Photo: Morgan Conservatorypage thirty six : : : north east ohio collective arts network journal

welcomecontinued from page 4punch of the devastated economy and the decline of print media. got together to help spread their own word about who they are andwhat they do—in short, to collectively shout, “We are here!”So all those working artists simply don’t get as much coverage asthey once did. Consider what the NEO arts scene has lost just in With seed money provided by a grant from the Ohio Arts Council,roughly the last decade: Dialog Arts Midwest, Northern Ohio Live, they each kicked in their own contributions to the cause. Indeed,Angle, ARTefakt, Urban Dialect, The Free Times, and Avenues—all they kicked in more than money. As you read through these stories,of which dug deep into the local arts scene—are gone. For a while, you’ll see that most of the bylines are those of the executive directorsall those existed in addition to what we have now. Shows andof the organizations. More than simply throwing money at theperformances—even in small galleries—got covered. Previews were problem, they invested their time to conduct an interview, and towritten. Personalities were explored.write about another organization’s work. In addition to stories,they’ve provided preview listings of what’s to come in their venuesConsider that the Plain Dealer once led public discussion about thefor the coming year.Arts and the Economy, with a daily arts section, including reviewsand features as well as real arts news reporting. Indeed, for a time There are non-profit galleries, as well as commercial galleries.a reporter was dedicated to covering the Arts and the Economy. There are organizations whose purpose is to show art, as well asThe editors seemed to agree with the voters in their conviction that organizations whose purpose is to help artists. This is by no meansCleveland’s own ecosystem of artists and galleries exhaustive list. But it’s a pretty good start.“we are here! we are here! we are here! we are here!”It’s not like that anymore. Sure, digital media has had aCAN Journal was built as an annual publication that introducesdemocratizing effect, and if you consider all the individual artists’ readers to the diverse range of galleries and other organizations thatblogs, tweets, and Facebook posts,there are certainly many, many fuel the NEO arts scene. As it grows in coming years, the stories willmore outlets now than ever before. And people are certainly learning evolve. How that happens will depend largely on the organizationsto use those methods to promote themselves. But they lack critical who have pitched in to make this happen.mass. Individual artists typically focus their blogs and social mediaWe expect the roster of organizations to grow and evolve. Whetheron their own work, or that of a small circle of friends. They don’t existyou’re reading this as an arts consumer, presenter, or an individualin the physical world. Therefore they don’t develop broad audiences.artist, we hope you’ll grow along with us, and make your voicePeople don’t stumble upon them. They can’t cross pollinate.heard, too.And that brings us to CAN Journal. What you’re holding in yourhands is the product of collective, not-for-profit, bootstrap self help.The arts organizations once served so well by all that media havebanded together to do something about what they’ve lost. Led byZygote Press, 28 of the region’s small-ish visual arts organizationsthe north east ohio collective arts network614,15,1723 9241CAN Journal Map Key1. 1point618 Gallery6421 Detroit Avenue, Cleveland2. Arts Collinwood15605 Waterloo Road, Cleveland3. Art House3119 Denison Avenue, Cleveland4. ArtSpace Cleveland1400 East 30th Street, Cleveland5. Art Therapy Studios12200 Fairhill Road, Cleveland6. Bay Arts28795 Lake Road, Bay Village1248 282122 1826 2716 7311. Cleveland Institute of Art Visiting Artist Program11141 East Boulevard, Cleveland12. Convivium331433 East 33rd Street, Cleveland13. Heights Arts2173 Lee Road, Cleveland Heights14. Kenneth Paul Lesko1305 W 80th Street, Cleveland15. Kokoon Arts Gallery1305 West 80th Street, Cleveland16. LAND Studio / Cleveland Public Art1939 West 25th Street, Suite 200, Cleveland11 2520521321. Proximity1667 E. 40th Street, Cleveland22. Red Dot Project1900 Superior Avenue, Suite 117, Cleveland23. River Gallery19046 Old Detroit Rd, Rocky River24. Screw Factory Artists13000 Athens Avenue, Lakewood25. Sculpture Center1834 East 123rd Street, Cleveland26. SPACES2220 Superior Viaduct, Cleveland197. Brandt Gallery1028 Kenilworth Avenue, Cleveland8. City Artists at Work2218 Superior Avenue, Cleveland9. Cleveland Artists Foundation17801 Detroit Avenue, Lakewood10. Cleveland Arts PrizeP.O. Box 21126 , Cleveland17. Legation, A Gallery1300 D West 78th Street, Cleveland18. Morgan Art of Papermaking Conservatory1754 E. 47th Street, Cleveland19. Orange Art Center31500 Chagrin Boulevard, Cleveland20. The Print Club of Cleveland11150 East Boulevard, Cleveland27. William Busta Gallery2731 Prospect Avenue East, Cleveland28. Zygote Press1410 East 30 th Street, Clevelandpage thirty eight : : : north east ohio collective arts network journalnorth east ohio collective arts network journal : : : page thirty nine

Saturday, September 15th, 2012 11:00am-9:00pmArt Galleries & Artist Studios | Historical WalkingTours | Free S idewalk Concerts | Festivals | & MoreFor more information, log theQuarter …the heart andsoul ofCleveland’s artcommunity.We’re bringingindustrialbuildings backto life.We’re setting abold newdirection forCleveland’scontemporaryart scene.We’re buildinga communityof dreamersand innovators.quarterartsdistrict.comAnd we hopeyou’ll join us.Zygote PressArtist Space ShareLAUNCHFebruary 2012FEB2012ABOUT ZPASSA Residency-Retreat-Community space, ZPASS launches inFebruary! Just upstairs from the shop, in a 1,500 square footspace, we’ve created an exciting new residence andmultifunctioning artist-studio space.ZPASS has four components:» It will be home to a new Zygote Residency program, as wellas host our ongoing annual Dresden Residency Exchanges» Provide a space for Artist Retreats for residence and printshop access» Be a shared arts community space and studio (providingother visual arts organizations with an intercity, long or shortterm stay residence option)» Allow Zygote to restructure its current Intern/Apprenticeshipprogram as this new space developsZPASSZ y g o t e P r e s s1410 East 30th StreetCleveland, Ohio 44114216 . 6 2 1.2 9 0

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