CAN Journal Volume 1 Issue 1 2012 - Zygote Press

the north east ohio collective arts network
BECAUSE WE cAN!
can journal
let’s make art work

Shaping Ohio’s Communities
Through the Arts Culturally,
Educationally and Economically.
The only site you need for arts
and cultural events in Ohio.
Visit ArtsinOhio.com to search for thousands
of performances, events, festivals and
exhibitions that are sure to move you.
Ohio Arts Council
Rhodes State Office Tower
30 E. Broad St., 33rd Floor
Columbus, OH 43215-3414
Phone: 614/466-2613
Fax: 614/466-4494
www.oac.ohio.gov
ArtsinOhio.com is a
collaboration between
• Experience Columbus
• Positively Cleveland
• Cincinnati USA RTN
• Ohio Arts Council
CUYAHOGA ARTS & CULTURE IS PROUD TO SUPPORT
ARTS COLLINWOOD • ART HOUSE • ART THERAPY STUDIOS • BAYARTS • CLEVELAND ARTISTS FOUNDATION •
CLEVELAND INSTITUTE OF ART • LANDSTUDIO • HEIGHTS ARTS • ORANGE ART CENTER • THE SCULPTURE
CENTER • SPACES • ZYGOTE PRESS
WWW.CACGRANTS.ORG 216 515 8303
THANK YOU
Collective 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’s
many visual arts organizations. Thanks to the Ohio Arts Council for start-up funds. Thanks also to Cleveland City Councilman Joe Cimperman, whose assistance
was invaluable. The first issue is published in an edition of 10,000. Copies are available at member organizations.
1POINT618 GALLERY
ARTS COLLINWOOD
ART HOUSE
ARTSPACE CLEVELAND
ART THERAPY STUDIO
BAY ARTS
BRANDT GALLERY
CITY ARTISTS AT WORK
CLEVELAND ARTISTS
FOUNDATION
CLEVELAND ARTS PRIzE
CLEVELAND INSTITUTE OF ART
VISITING ARTIST PROGRAM
CAN Journal • 1410 East 30th Street, Cleveland, Ohio 44114 • 216.621.2900
CLEVELAND PUBLIC ART
CONVIVIUM 33
HEIGHTS ARTS
KOKOON ARTS GALLERY
KENNETH PAUL LESKO GALLERY
SCREW FACTORY ARTISTS
MORGAN ART OF
PAPERMAKING
CONSERVATORY
ORANGE ART CENTER
PRINT CLUB OF CLEVELAND
PROxIMITY
RED DOT PROJECT
RIVER GALLERY
THE SCULPTURE CENTER
SPACES
WILLIAM BUSTA GALLERY
zYGOTE PRESS
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Publisher
Liz Maugans
Editor
Michael Gill
Designer
JoAnn Dickey
TABLE OF CONTENTS
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Welcome to CAN Journal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
by Michael Gill
1point618 Gallery . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
The Golden Rule in Gordon Square, by Mary Kay DeGrandis
Arts Collinwood . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Putting the Arts in Collinwood, by Ann Albano
Art House . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
Key Neighborhood Asset, by Deborah Pinter
ArtSpace Cleveland . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
ArtSpace: The Evolving Frontier, by Michael Gill
Art Therapy Studios . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
The Healing Process, by Cheryl Carter
Bay Arts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Busy in Bay, by Christy Gray
Brandt Gallery . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
Going Solo, by Christopher Lynn
City Artists at Work . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
At Work in the City, by Vince Reddy
Cleveland Artists Foundation . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
For the Record, by Hilary Aurand
Cleveland Arts Prize . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
Honoring the Past, Informing the Future, by Michael Gill
Cleveland Institute of Art Visiting Artist Program . . . . . . . . . 15
by William Busta
Convivium33 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
Feast Your Eyes, by Gina DeSantis
Heights Arts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
A Village in the Heights, by Michael Gill
Kenneth Paul Lesko . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
The Road Show Comes Home, by Susan Kelly
Kokoon Arts Gallery . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
Out of the Kokoon, by Michael Gill
LAND Studio / Cleveland Public Art . . . . . . . . . . . . . . . . . . . . .20
The Art of Public Spaces, by Harriet Gould
Legation, A Gallery . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
A Marriage of Art and Music, by Jean Brandt
Morgan Art of Papermaking Conservatory . . . . . . . . . . . . . . 22
Morgan Conservatory Occupies Cleveland, by Lane Cooper
Orange Art Center . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
Nestled (and Growing) in the Woods, by Amy Craft
The Print Club of Cleveland . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
Intimate Contact, by Beth Whalley
Proximity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
Cleveland is in Proximity, by Robert Maschke
Red Dot Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
Playing the Part of Theo, by Peggy Spaeth
River Gallery . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
A Compelling Combination, by Mark Yasenchack
Screw Factory Artists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
Not Screwing Around, by Ross Lesko
Sculpture Center . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .29
Site Specific, by Liz Maugans
SPACES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .30
It’s About the Ride, by Nancy Heaton
William Busta Gallery . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
More of the Same, by Alenka Banko
Zygote Press . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
Pressed into Action, by Karen Peterson
Something Is Happening Here . . . . . . . . . . . . . . . . . . . . . . . . . . .34
by Douglas Max Utter
Mapping CAN Journal Galleries and Organizations . . . . 39

WELCOmE
Working together, Northeast Ohio Arts
Organizations Make Their Voices Heard
By Michael Gill
We the top of their lungs to try to get anyone—besides the
are here, we are here we are here!
that’s what Theodor Seuss Geisel’s “Whos” shouted at
benevolent elephant Horton—to recognize their existence atop
a tiny speck of dust. Indeed, they were shouting for their lives
because apart from Horton, the other animals in the jungle of Nool
were rallying to seize the dust speck and boil it –along with the
entire Who population—in a vat of beezlenut oil.
CAN Journal feels a little bit like that.
It’s not that there’s a band of jungle animals waiting to boil the
small visual arts organizations and independent galleries in any
kind of oil—unless that’s how you think of the economy. On the
contrary, in some ways Cleveland has rarely been such a friendly
place for local artists to make and sell their wares. Indeed, the
Community Partnership for the Arts and Culture’s years of
research and persuasive argument have led to much more than a
cigarette tax pumping millions annually into the arts economy. The
public discussion that went along with it has certainly contributed
to the success artists have had in revitalizing their neighborhoods
and even building small businesses.
And they have had plenty of success. All those exhibit spaces and all
those working artists have produced a constant stream of shows that
range from high concept to high craft. Rarely has the Northeast
Ohio art audience had so much wonderful stuff to look at.
Their success extends beyond the work itself. Whether by the
sweat equity of individual artists in Tremont, or by organized and
cooperative institutional investment in Gordon Square, or by small,
arts-oriented small businesses rocking and rolling their synergy
along Waterloo, artists and arts organizations have certainly had
their impact on neighborhoods. These hives of activity exist all over
PHOTO: AL FUCHS
town. Especially in this long downtrodden economy, artists are
working hard. All that, in addition to their work itself, has earned
them some well-deserved respect.
But in order for this ecosystem to be sustainable, artists depend on
public discussion. They need to find new audiences, new customers,
new influences, and new ideas. And therein lies a significant irony.
Because just as the promise of all that artistic sweat equity and
The first meeting of CAN Journal participants at BAYarts.
investment is proving worthwhile—just as Cuyahoga County voters
decided the arts are worthy of public support, just as individual
artists have filled empty storefronts and factories at unprecedented
rates—arts journalism around the region took a precipitous dive.
What was once a lively public discussion met with the one-two
continued on page 38
1pOiNT618 gALLEry
THE GOLDEN RULE IN GORDON SQUARE By Mary Kay DeGrandis
architect robert maschke combines art and architecture in 1point618
The rather enigmatic name of the gallery “1point618” might resound with anyone familiar with a basic architectural
principle: it’s the Golden Rule—the proportion of height to width that is most pleasing to the eye .
A sense of the “divine proportion” infuses the ethereally minimalist
main gallery for single-artist exhibitions that also unobtrusively
serves as the conference room for Robert Maschke Architects, as
retractable blinds magically descend to surround the large table and
chairs. The architectural studio and library occupy the second floor
that opens to the gallery space below and the lower floor is a salon
style gallery that exhibits 12 to 15 artists simultaneously.
As managing director of 1point 618, with his architectural staff
assisting in curatorial capacities, Mr. Maschke acknowledges that
this fusion of an active architectural firm and a public gallery
is unique in the region. It was born of the fact that he has been
sourcing art to his clients for over 20 years. 1point618 is consistently
patronized by architectural clients, but the inception of the gallery
itself was geared towards the non-architectural clientele.
A visionary, innovative architect, Robert Maschke carries the
same sensibilities into his gallery. The clear, progressive aesthetic
that fuels Mr. Maschke’s architectural designs—evident in the
award-winning Brunswick University Center, the C-House, the
Gordon Square Bus Shelters (to mention only a few)—affirms
that he is above all an artist. His affinity for the beautiful and the
iconoclastic led him to design, build, and manage an expansive
gallery space at the headquarters of his architectural firm in
the burgeoning Gordon Square Arts District. Mr. Maschke
acknowledges that he is singular in this endeavor, combining
his architectural practice with a gallery that features regional,
national, international artists, open to the public.
The intent has been met as since opening in 2005, 1point618 draws
from not only the active Cleveland arts community but increasingly
attracts national and international buyers. Mr. Maschke emphasizes
that the design of the space allows the studio and the gallery to be
one, but the gallery is its own entity.
A true “urban pioneer” Maschke ventured into the Gordon Square
area in 2000, well before its designation as an arts district. He
presciently saw the commercial potential of the Detroit Shoreway
neighborhood surrounding the Cleveland Public Theatre. He was
one of the first to commit to the neighborhood, by acquiring a
gutted, fire-damaged restaurant at Detroit and West 65th, and
completely renovating it. The location has proven fortuitous,
adjacent not only to Cleveland Public Theater, but too accessible to
downtown, and to Cleveland Hopkins Airport. In turn, 1point618
has enhanced Gordon Square as a true “arts” district.
Mr. Maschke readily admits that he exhibits artists whose work he
likes, pure and simple. He seems to favor the edgy but never the
outrageous, and always goes for artists of technical virtuosity.
1point618’s inaugural exhibition was devoted to the artist Christos
Koutsouras. As part of a business trip, Mr. Maschke and his wife
Xiao Yan met and befriended the artist on his native Greek island
of Samos. The couple’s admiration for Mr. Koutsouras’ evocative
figural paintings grew into a business partnership. More than 450
enthusiastic art aficionados attended the opening reception.
Location Gordon Square Arts District,
6421 Detroit Avenue, Cleveland, Ohio 44102
Phone 216.281.1618
Web 1 www.point618gallery.com
Email robert@1point618gallery.com
Facebook 1point618
BUSINESS HOURS
Tuesday through Friday 11am to 4pm
All other times by appointment only
MISSION
Located within the Gordon Square Arts district of Cleveland,
Ohio’s historic Detroit-Shoreway neighborhood, 1point618
emphasizes the display and representation of fine art that is
superior in quality, and produced by artists of extraordinary
talent .
1point618 has shown numerous artists of regional, national,
and international acclaim . These artists’s work has taken
the form of a variety of mediums including painting,
sculpture, and video . 1point618 is proud to represent
established and emerging artists alike, and continually
seeks out individuals who create compelling and original
work . Additionally, 1point618 has expanded its offerings
beyond the visual arts into design disciplines, with
exhibitions that include designers of international repute
in the fields’ architecture, furniture, and industrial design .
1point618’s initial venture with an international artist was not its
last. Maschke states that during the past six years, he has represented
approximately one-third international, one-third national, and onethird
regional artists. One who crosses such designations is Oberlin’s
iconic John Pearson, whose Op Art works have been presented at the
gallery in three major exhibitions.
A look at another year’s exhibitions shows Maschke’s commitment to
the best of Northeast Ohio artists. The sardonically representational
canvases of the Cuban-born Augusto Bordelois populated the
walls of 1point618 in August of 2006, as did Judith Brandon’s
lyrically apocalyptic visual riffs on natural phenomena. The same
year, Douglas Max Utter’s compelling landscapes and Giancarlo
Calicchia’s sensuous wood-carved and bronze cast figures all graced
the interior of 1point618.
1point618 has become an established Gordon Square arts
institution. And Mr. Maschke continues to be unfettered in his
selection of artists, planning exhibitions well into the coming
years. Indeed, boldly pushing—if not breaking—any prescriptive
envelope, Maschke will hold an exhibition of custom motorcycles in
June 2012. The divine proportion will meet the roar of the engine—
and the Cleveland arts community thrives because of it.
Mary Kay DeGrandis is president of the Print Club of Cleveland.
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A BRIEF HISTORY
1point618 opened in 2005 with its inaugural exhibition
featuring the work of internationally renowned painter
Christos Koutsouras . Since that time 1point618 has
maintained an aggressive schedule which typically
includes 5-7 shows per year . 1point618 individual artists’
exhibitions are featured in a 3500 square foot first floor
space . The gallery also features a lower gallery which
houses a rotating collection of artists previously featured
in the main gallery .
UPCOMING SHOWS
February 24 – March 26: Amber Kempthorn
March 30 - April 29: Jenniffer Omaitz
May 4 - June 3: Antonia Reiner
June 8 & 9: Cleveland Moto Works
June 22 - July 22: Royden Watson
August (dates to be determined) - Barry Underwood
September (dates TBD) - Kathleen Loe
November (dates TBD) - Audra Skoudas
1point618 interior space.
page four ::: north east ohio collective arts network journal north east ohio collective arts network journal : : : page five
PHOTO: 1POINT618 GALLERY

ArTS COLLiNWOOD
PUTTING THE ARTS IN COLLINWOOD By Ann Albano
Cleveland’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, including
resident artists, the Beachland Ballroom, and Arts Collinwood .
The neighborhood nonprofit Northeast Shores Development
Corporation energetically promotes the Waterloo Arts District.
Cooperating with the Community Partnership for the Arts and
Culture, and with a $500,000 grant from the Kresge Foundation,
the group encourages the sale of houses to artists—thereby helping
those artists actually make a living right where they live.
From the synergy of Arts Collinwood and the highly-respected live
music venue, the Beachland Ballroom, businesses keep popping
up along Waterloo Road. You’ll find a Rock and Roll culture of
tattoos, vintage clothing, vintage records, and vintage toys and other
unexpected, temporary pop ups of all sorts that keeps going late into
the night and on Sundays. Waterloo will meet your quota of “arts
in the raw.”
Urban culture tourists and music lovers from all over the country
have heard about the remarkable revitalization of this neighborhood
and are coming to experience it for themselves. Once a Slovenian
enclave North Collinwood is now home to many African
Americans and recently (or not) transplanted artists of all races
and socioeconomic backgrounds. To get there from downtown
Cleveland, you just take a leisurely drive along the lake: Take
Lakeshore Boulevard through the magnificent neighborhood of
Bratenahl, or hop on Route 90 West and get off at East 152nd St.
The Waterloo Arts District’s promoters say, “It’s just 10 minutes
from anywhere.”
Arts Collinwood was founded in 2002 by Nan and Miles Kennedy
and their daughter Sarah Gyorki. It’s current executive director is
Cheryl Carter, an artist with a long history of nonprofit experience
who was a co-founder of Art House. Everyone involved with
Arts Collinwood lives the belief that the arts can revitalize a
neighborhood and be an economic engine for change.
Arts Collinwood makes pluralism an art form in itself. With its
Art Gallery, Café and Art Center, and by organizing arts-centered
neighborhood events, the organization serves as the district’s
informal welcome center and hub for all who are interested
in the arts. Especially serving artists who want to settle in the
neighborhood, it provides access to a wide variety of media, from
poetry, to visual arts, music and film.
Visitors can grab a bite and a beer, linger over a newspaper, and
meet the regulars at Arts Collinwood’s unique Café. The Café
was purchased by Arts Collinwood in 2010 to help fund their
arts programs, provide a gathering place for art enthusiasts, and
encourage neighborhood involvement. Exhibitions are curated
by a group of well-known local artists and educators, from
work submitted largely by Northeast Ohio artists. All artists,
from anywhere, however, are welcome to apply to be included
in exhibits. You can find the procedure on their website. The
Gallery shows traditional media—painting, print making, and
photography—as well as highly experimental, 3-D installations,
and sculptures. The gallery’s goal is to exhibit work that is
engaging and thought-provoking.
On an evening visit to the Café and Gallery, you are likely to be able
to listen to a poetry reading, an artist or writer’s talk, or music that
ranges anywhere from classical chamber to blues. You might watch a
seasonally themed movie, or just enjoy a glass of wine. In the spring
and summer, there’ll be al fresco dining with entertainment on a
new patio. And of course, there’s art. The patio will be enlivened by
colorful decorative tiles designed by local ceramic artist Angelica
Pozo, along with Collinwood neighborhood kids and seniors.
Special events abound year-round at Arts Collinwood. In the pring
the 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, a
surging street fair with 20 bands, 40 art vendors, and an interactive
kids’ area. In the fall, the Ohio Independent Film Festival packs an
old bank building up the street with a pop-up show of more than
20 independent artists’ video screenings. Finally, in December, Arts
Collinwood turns itself into a boutique of craft and art for its annual
Holiday Art Sale.
In addition to providing arts programs and events, Arts Collinwood
partners with the City of Cleveland and the neighborhood schools
to bring the arts to residents, including children. There are After
School and Teen Programs, and a summer drama camp. Arts
Collinwood also has eight artists’ studios for rent on the second floor
of its multi-use building. For your special events, you can rent space
in the café, the Gallery, and or the Nan and Miles Kennedy Art
Center. All that together makes Arts Collinwood one of the most
versatile centers in Cleveland.
Ann Albano is Executive Director and Chief Curator at the
Sculpture Center
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Location 15605 Waterloo Road, Cleveland
Phone 216.692.9500
Web www.artscollinwood.org
Email info@artscollinwood.org
Facebook Arts Collinwood
GALLERY HOURS
Thursday through Saturday, 11 a .m . – 11 p .m .
MISSION
Arts Collinwood believes that a flourishing arts
community enriches a neighborhood’s quality of life,
both economically and culturally . By partnering with
local merchants, neighborhood associations, schools
and artists, we encourage more artists to live and work in
North Collinwood, and offer residents more opportunities
to engage in the arts . Our goal is to support a stimulating
arts environment and to encourage continuing
education in the arts by offering a wide variety of cultural
activities for residents of all ages .
A BRIEF HISTORY
Founded in 2002, Arts Collinwood strives to develop,
support, and promote arts activities in the Collinwood
neighborhood of Cleveland by providing arts education
programs, exhibits, performance opportunities and
facilities . We are committed to building a thriving arts
community that nurtures individuals’ creative sensibilities
and 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 become
one of the city’s most important arts districts, attracting
artists, musicians, and arts enthusiasts to live, work, learn,
and play in the neighborhood .
Arts Collinwood was founded on the interest and need
for a strong visual arts organization in the neighborhood .
Many of the region’s most accomplished painters
and other artists have exhibited there, including Dan
Tranberg, Randall Tiedeman, Douglas Max Utter, Tim
Callaghan, Mark Keffer, and Harvey Pekar’s American
Splendor collaborators, Laura and Gary Dumm . In its
shows, Arts Collinwood emphasizes craftsmanship, and
work that challenges the viewer to see the world in a
new and original way .
UPCOMING SHOWS
January 12-26, 2012
Designs for The United Way and the Rock and Roll Hall
of Fame’s Guitar Mania.
Open to the public starting January 13th .
February Black History Month show
Van Monroe, local artist whose portrait of Barack Obama
on sneakers is in the Smithsonian Institution .
PHOTO: ARTS COLLINWOOD
ArT hOUSE
KEY NEIGHBORHOOD ASSET By Deborah Pinter
art house builds community and creativity in brooklyn center
Art House is a grassroots art center founded by local residents and artists who believed the arts and culture improve
communities . They joined forces and established the organization in 1999, incorporated as a non-profit organization
the following year, and in November 2001, the physical facility now known as Art House—a 3,000 square-foot Quonset
building 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, to
discuss their current programs, partnerships, audiences, and what is
in the future for this twelve year old grassroots organization.
True to the motives that launched the organization, Art House is all
about the neighborhood. Programs are designed to serve the people
who live there—especially the children. And when you walk into the
building, 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 program
began at nearby Denison Elementary, but has grown to serve other
CMSD schools. The focus of the residencies is to provide students,
grades 4-12, with meaningful, hands-on arts opportunities and
exposure to local artists, methods, and materials. This grant-funded
program allows students the opportunity to work as a team in an
artistic environment. The experience cumulates with a year-end
exhibition in late spring.
Next, she told me about StudioGo, a fee-based program offering
offsite classes and workshops to groups, organizations and schools in
a range of media. Popular classes have included clay, printmaking,
mixed media, murals, and enameling. StudioGo also provides
activities for festivals and special thematic art events. The Art
House staff is working with a corporate client, Willoughby-based
Neundorfer Inc., to develop a team-building component to the
StudioGo program.
Then we discussed their newest program, Sippin’ in the Studio,
which is designed for the adult interested in sitting back, relaxing
and letting their creative juices flow while enjoying time with fellow
art makers. Offered once a month, this program combines art
making with a little wine tasting. Recognized Cleveland artists teach
these workshops in a variety of media. A continuing list of adults
classes offered throughout the year compliment this program and
include 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 the
Ohio Arts Council were also key players in the beginning.
Amy and the staff have continued to nurture many of these
partnerships while adding a number of new and interesting
collaborations to their directory. For instance, Old Brooklyn
Community Development annually sponsors a number of events
involving Art House, including Falloween, a favorite of children
of all ages. Art House has also partnered with the Boys and Girls
Club, Arts and Science Preparatory Academy, and Bellaire-Puritas
Community Development to establishe three successful afterschool
outreach programs. The Boys and Girls Club and the Arts and
Science Preparatory Academy have been ongoing partnerships for
three years. Their most recent partnership, initiated last August, is
Location 3119 Denison Avenue, Cleveland
Phone 216.398.8556
Web www.arthouseinc.org
Email acraft@arthouseinc.org
Facebook Art House
GALLERY HOURS
Office hours: Tuesday – Friday 10:00 a .m . – 4 p .m .
MISSION
Our mission is to nurture involvement in arts and culture,
providing opportunities for people to create, learn and
communicate ideas while encouraging self-expression,
thereby strengthening the community . Our purpose is
to provide high quality visual and creative arts classes
for people of all ages and skill levels . Our goal is to
enrich the lives of those who live in our community, to
encourage and strengthen the careers of local artists
and to promote learning through the arts .
A BRIEF HISTORY
Art House Inc . was founded in 1999 by a group of local
artists and residents dedicated to the belief that the arts
enrich lives and create better communities . As a catalyst
for neighborhood development, the organization
was supported by councilwoman Merle Gordon who
provided the funds to renovate its permanent home, a
with the Brooklyn Center Naturalist (BCN). The BCN is facilitating
the creation of a community dye garden on the Art House property.
Art House will use the garden to teach students how to naturally
create color from nature.
We finished our discussion by talking about what is on the horizon
for the organization and how these supporters will be kept informed
of Art House’s dynamic activities. Introduction of a new website in
October 2011 will continue to be the organization’s main focus for
on-line marketing and communication. Art House staff will also
continue, like most of us, to work on keeping their house in order.
The primary focus in the coming year is to develop new partnerships
for StudioGo and new programs for adults, especially patrons, who
visit from as far away as Mantua and Willoughby. Art House staff
will continue to offer art education programming for students of
the Cleveland city schools, as well as outreach to the community.
With the help of the Ohio Cultural Facilities Commission, capital
improvements—such as a new floor and roof—will be a priority.
Like all Executive Directors, Amy Craft’s work is never done. It
seems there are always ten more tasks she could complete before
walking out the door. She and her staff work tirelessly to keep Art
House fun, creative and energetic. If you have never been to Art
House you are missing out on a wonderful opportunity to experience
a creative and vibrant neighborhood arts organization in the heart of
Brooklyn Centre.
Deborah Pinter is executive director of the Orange Art Center.
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1948 Quonset Hut . Art House’s founding director, Sheryl
Hoffman and founding board of director’s established
the mission which remains the organization’s guide . Best
known for its quality art education programs and classes,
particularly in clay, Art House serves its neighborhood by
offering free programs and events, fee-based programs,
teaching opportunities for artist, and community
outreach throughout Cleveland .
UPCOMING EVENTS
Urban Bright Year End Exhibition
Thursday, May 17 through Friday, June 1, 2012
Sippin’ in the Studio
4th Thursday of each month
Family Open Studio
3rd Saturday of each month
Free
Arts Collinwood gallery.
The kids in the neighborhood.
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PHOTO: ART HOUSE

ArT SpACE CLEvELAND
ARTSPACE: THE EVOLVING FRONTIER By Michael Gill
connecting artists to live-work space across the decades
With the recent attention paid to arts districts, it’s easy to forget that the dynamic of artists moving into inexpensive
space 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—an
architect and planner—worked with councilman Joe Cimperman
to do something that sounds boring, but which has deep impact on
Cleveland’s appeal to artists—especially those who would like to
tap into the rust belt’s famous industrial-scale space. In 2001, the
Goulds and the councilman created the “Live-Work overlay” to the
city’s zoning code. The legislation allows artists to live and work
within specified boundaries in the industrial buildings on the
near-east side.
The zoning code generally prohibits living in buildings zoned for
industrial use. Thanks to that legislation, however, artists have been
allowed to live and work in the former factories and warehouses
along certain defined corridors. The area includes St. Clair, Superior,
and Payne avenues between East 18th east and E. 64th streets, plus
East 30th, 40th, 49th, and 55th Streets.
Bill Gould’s efforts to connect artists to appropriate space goes
back much farther than that. In 1963 he was retained by the
Musical Arts Association to find a bucolic, bowl-shaped natural
setting for the construction of a summer home for the Cleveland
Orchestra: The result: the Cuyahoga Falls location that became
Blossom Music Center.
But in the seventies, it was the urban landscape that held his
attention. As Bill Gould describes, buildings in Cleveland’s
Warehouse District were being burnt down, or torn down then, to
be replace by parking lots. The loss of architectural history was a
major blow to the city’s infrastructure. The Warehouse District is the
oldest part of the city.
As Harriet Gould says, “the destruction was stopped” when
Gould and Associates was hired by the City with funding from
the National Endowment for the Arts to encourage artists to find
housing there. They succeeded, attracting the likes of Stephen B.
Smith, Laszlo Gyorki, and Ken Nevadomi, among others. SPACES
Gallery 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. “This
was discovered, so they were kicked out.” Developers then began
converting the warehouse space to residential apartments, which
were too expensive for most artists. As Gould observes, it was the
same story in New York’s SOHO, and in San Francisco, and other
cities around the country.
Harriet Gould says her husband “ruminated about this,” and in
2001 he approached the Greater Cleveland Partnership (then called
the Growth Association) with a proposal to help revitalize a different
neighborhood—the industrial corridors of the near east side. The
plan was to make live-work space legal in a neighborhood with
buildings that had large spaces and other qualities –vestiges of their
industrial past—that appeal to artists. That year, the GCP became
the fiscal agent and a partner with ArtSpace Cleveland in the effort
to connect artists to affordable, live work space in specific industrial
neighborhoods of the city.
They work with what they call “sympathetic landlords”—a
collection of building owners who are interested in filling their space
by leasing it to artists at an affordable rate. Gould says they field
about a dozen inquiries per month from people looking for space.
Gould says they help artists find the kind of industrial space that’s
unavailable in the region’s other, more residential and retail-oriented
arts districts. In 2008, ArtSpace-Cleveland expanded its mission
to include an Artist Ownership Initiative. The yearly activities they
pursue are a newsletter and an annual tour of the spaces.
The Goulds exemplify the lifestyle they promote. They live and work
in a 6000 square foot space in a four story mixed use building that
houses artists and businesses, including Tastebuds and Zygote Press.
Michael Gill is editor of CAN Journal.
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Location 1400 East 30th Street, 4th Floor, Cleveland
Phone 216.241.4355
Fax 216.241.5052
Web www.artspacecleveland.com
Email gouldloft@sbcglobal.net
Facebook ArtSpace-Cleveland
MISSION
ArtSpace-Cleveland helps artists find spaces to live
and work . Toward that end, the organization publishes
a quarterly newsletter; meets monthly with artists, nonprofit
organizations, and building owners; researches
zoning and building codes to facilitate affordable space
development; maintains a database and website;
provides building owners with information on the needs
of artists; and conducts an annual trolley tour of artist
live-work studios .
A BRIEF HISTORY
Founded in 2001 with the support of the Greater
Cleveland Partnership, ArtSpace-Cleveland founders
Bill Gould and Harriet Gould played a key role in the
creation of a Live-Work zoning overlay for industrial
corridors on Cleveland’s near east side . Long committed
to connecting artists to live-work space, in 2008 they
launched an Artist Ownership initiative, whith the goal
of helping artists build equity and develop long-term,
stable presence in their neighborhoods .
ArtSpace-Cleveland works in partnership with The
Greater Cleveland Partnership, the St . Clair Superior
Community Development Corporation, Dominion
East Ohio, the Cuyahoga Community Land Trust, the
Council of Small Enterprises (COSE) Arts Network, and
the Community Partnership for Arts and Culture . Funding
comes from block grants and corporate contributions .
Sponsors include the City of Cleveland, Forest City
Enterprises and the Ohio Arts Council . ArtSpace
Cleveland welcomes new members .
PHOTO: MICHAEL GILL
ArT ThErApy STUDiO
THE HEALING PROCESS By Cheryl Carter
art therapy studio provides support, enables expression
The founders of Art Therapy Studio came to the same place from different directions . One was a doctor . One was
an artist . What they both knew was that the practice of making art could provide a therapeutic outlet for patients
with 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 therapist
with polio). They wanted to help others to cope with their serious
illnesses in a creative and therapeutic manner. So Art Therapy
Studio was born. Since then, the organization has grown to include
programs led by Art Therapy professionals both at four studio
locations, and out in the community. The clients are encouraged
to feel free to choose their artistic path and enjoy a relaxing
environment either in a group setting or individually.
Serving individuals with a variety of special needs, Art Therapy
Studio in Cleveland provides unique opportunities through artistic
expression. Executive director Karen B. Peterson, MA, gave me a
guided tour of the facility housed in the Fairhill Partners Building.
Beautiful paintings, drawings and pottery lined the gallery on the
way to the adjoining studios and offices. Each work of art had a
story that gave the viewer insight into the work Art Therapy Studio
does and the unique challenges faced by the artist who created it.
Art Therapy Studio provides a way for people of all ages to come to
terms with their various disabilities, emotional struggles and serious
illnesses. All of those situations come with a need for courage many
of us may never know.
Art Therapy Studio offers a place of understanding, professional
expertise in both art and therapeutic counseling as well as a “home
away from home” where the clients can express themselves through
artistic medium including painting, drawing, collage and pottery.
The statement on Art Therapy Studio’s website sums it up: “Over
the years, we have identified ways that art uniquely answers people’s
needs. In a creative, supportive, activity-based environment, art
provides an alternative outlet for feelings and ideas. The process and
images speak for us when words are not enough.”
Art Therapy Studio serves approximately 1,800 people annually
and holds special event fundraisers such as the Dessert Competition
Location 12200 Fairhill Road, Cleveland
Phone 216.791.9303
Web www.arttherapystudio.org
Email info@arttherapystudio.org
GALLERY HOURS
Fairhill Studio: 10 a .m .–5 p .m . Monday–Friday
MISSION
Art Therapy Studio is a non-profit organization that
provides therapeutic art programs for individuals
and agencies throughout the greater Cleveland . Our
programs are designed to improve and enhance the
physical, mental, and emotional well-being of individuals
and are based on the philosophy that art making is
central to growth, healing, and wellness . Credentialed
art therapists trained in counseling as well as fine art
invite, guide, and encourage individuals to rediscover
themselves through the art-making process . The
emphasis is on the process of creating art, and control
is left in the hands of the artist . Individuals with physical,
emotional, or cognitive special needs often find art
therapy to be a very rewarding avenue of expression .
A BRIEF HISTORY
Founded in 1967, Art Therapy Studio was established in
collaboration with Highland View Rehabilitation Hospital,
now MetroHealth Medical Center, as a creative arts
program to help patients and their families cope with the
life-changing effects of trauma, chronic illness, medical
treatment, and permanent disability . The studio was
a place to congregate, relax, and be involved in the
creative process . In 1977 Art Therapy Studio’s mission
to be held in the fall of 2012. Sponsors and individuals are able to
taste and judge a variety of delectable creations all while financially
supporting the work of the studio.
In addition to programs and classes, Art Therapy Studio also
offers professional development workshops and employee wellness
programs. Enhancing the lives of both children and adults who must
face the struggles that accompany special needs, Art Therapy Studio
uses 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
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expanded to include community programming to serve
patients after their release from the hospital, recognizing
that people need a touchstone after release—a place to
continue to have social interaction and learn new skills .
Today Art Therapy Studio offers weekly “Discover the
Artist Within You” classes at four community studios—
two on the east side, two on the west side—for anyone
who has special needs, is seeking wellness, or is simply
interested in learning about art in a supportive setting .
The organization also provides inpatient hospital services,
on-site programs for community agencies, professional
education workshops, and employee wellness programs .
UPCOMING EVENTS
Art Therapy Studio Staff Art Show
Fairhill Studio (12200 Fairhill Road, Cleveland, OH 44120)
January - April 2012
Opening Reception – Wednesday, January 25, 5-7 pm
Ursuline “Discover the Artist Within You” Art Show
Ursuline ArtSpace Studio (Ursuline College, 2600 Lander
Road, Pepper Pike, OH 44124)
February - April 2012
Opening Reception – Sunday, February 12, 1-3 pm
Summer Client Art Show
Fairhill Studio (12200 Fairhill Road, Cleveland, OH 44120)
May – August 2012
Fall Client Art Show
Fairhill Studio (12200 Fairhill Road, Cleveland, OH 44120)
September - December 2012
1400 East 30th Street, Cleveland.
The power of expression.
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PHOTO: ART THERAPY STUDIO

BAy ArTS
BUSY IN BAY By Christy Gray
bay arts growing and evolving
BAYarts 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, concert
venue, store, coffee shop and meeting place . It is a place to look at art, learn about art, listen to live music, meet
friends 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 for
professional and aspiring artists and art appreciators alike. Located
in the city of Bay Village, this is certainly a Westside destination.
But it’s not exclusively about one community, or even the entire west
side. The organization reaches an audience throughout Northeast
Ohio, 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 wraparound
porch (the one moved on the barge), the Station House, and
a the aforementioned red caboose. Surrounded by the ever-changing
trees and the beautiful gardens, you will find yourself physically
relaxing as the staff welcomes you in the inviting space without an
ounce of intimidation.
There are two gallery spaces, each with a distinctive role. The Diane
Boldman Education Gallery features the work of students and
faculty that participate and teach the classes. The Sullivan Family
Gallery 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 from
artists of this region.
The education gallery is also a working classroom. BAYarts prides
itself on its diverse mix of classes ranging from ceramics and
painting to jewelry making and photography, with offerings for
children and adults. The classes fill every room and keep the place
hopping six days a week. Innovative summer camps, Girl Scout
programs and home school curriculum are popular with families.
The ceramics studio program is thriving. Currently, the studio is
located in an inherited space in the basement of the Huntington
House. It is a functioning studio with a dedicated group of ceramic
artists that participate in classes and curate an annual advanced
ceramics show each year. Through private funding, BAYarts will
upgrade the ceramics studio beginning in 2012. This opportunity
gives the staff and faculty a chance to create a pottery studio with
careful consideration of how it should be built to best serve the artists.
As a collaborative organization, BAYarts welcomes other groups for
meeting space. Zygote Press and Kendal at Oberlin have had gallery
shows here in the past. Upcoming shows include one of works by the
Ohio Watercolor Society.
Located on Cleveland Metroparks property, BAYarts is an affiliate
of the Metroparks. Rich in history, the BAYarts campus consists
of three buildings. The John Huntington House is the home of the
consignment shop, classrooms, The Diane Boldman Gallery, and
administrative 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—is
home to the Sullivan Family Gallery, Mojo’s coffee, classrooms and
meeting spaces available to rent for weddings or parties. The Station
House is home to Vento, a casual dining restaurant with a great
patio to catch the summer concerts. Huntington Playhouse and
Lake Erie Nature and Science Center—fellow Cleveland Metroparks
affiliates—are within walking distance.
Free summer concerts showcase a variety of regional musicians;
using the lawn and porch, musicians perform for an audience
arranged in folding chairs and picnic blankets with children chasing
bubbles. You are just as likely to run into a neighbor as you are an
artist or friend from Chagrin Falls or Cleveland Heights. An annual
Art and Music Festival provides an affordable alternative for artists
to sell their work; and the annual fall Moondance benefit has been
labeled the west side’s “Party of the Year,” attracting hundreds of
supporters for a great time under the stars.
BAYarts is part gallery, classroom, concert venue, store, coffee shop
and meeting place. A comfortable place to see, learn or discover
something new and fresh.
Christy Gray is project director for the Red Dot Project.
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Location 28795 Lake Road Bay Village
Phone 440.871.6543
Web www.bayarts.net
Email info@bayarts.net
Facebook BAYarts
GALLERY HOURS
September – May: 9 a .m . to 5 p .m .
Monday – Saturday; closed Sunday
June – August: 9 a .m . – 5 p .m .
Monday – Saturday; noon – 5 Sundays
Closed major holidays; Open for Special
programs on School Holidays
MISSION
The mission of BAYarts is to provide a
welcoming lakeside environment to
stimulate, encourage and support
professional and aspiring artists of all
ages through collaboration, education
and exhibition
HISTORY
BAYarts was founded in 1948 as
Baycrafters, by a network of creative
homemakers who wanted to work on
their art in a community of other artists .
Orginally located in the basement of
founders, the organization moved to
Huntington Reservation in Cleveland
Metroparks . The John Huntington
House was donated to the Cleveland
Metroparks when they purchased
the land in Bay Village . The house
became—and remains—Baycrafters
home . The organization took the name
BAYarts in 2007 to reflect a revitalization
that had begun at the time . The Station
House and Caboose were donated to
the organization and relocated to the
current site . In 1984 The Irene Lawrence
Fuller House (circa 1892) was donated
and made international news as it was
floated on a barge along Lake Erie to its
current site . Renovation began in 2009,
and the house opened in 2010 .
2012 HIGHLIGHTS
February
Emerging Artists Show
March
2012 Spring Juried Show and
BAYarts Faculty Show
May
Annual Ceramics Show
Annual Education Fundraiser
June – August
Summer Outdoor Concert Series
Musician inquiries: concerts@bayarts .net
Artistic by Nature Art and Music Festival
June 16
Artists inquiries: eileen@bayarts .net
September
Moondance Annual Fall Benefit
September 15
October
50th Annual Juried Show
November – December
Holiday Consignment Shop
Artist inquiries: Karen@bayarts .net
More information on these and other
events: www .bayarts .net
PHOTO: BAY CRAFTERS
BrANDT gALLEry
GOING SOLO By Christopher Lynn
Brandt Gallery focuses on individual artists, one at a time
Artists 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 Leader
building downtown to an office space on Kenilworth in Tremont.
When faced with the dilemma of interior decorating, it was
suggested to her that it may be easier and cheaper to just rotate
artwork through her office rather than purchasing work outright.
Little did she know how rewardingly wrong that advice was and the
impending 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 realized
that if people were that defensive about space, there was probably a
lack of space. She mustered up her energy and buckled down to the
idea of using her office as a gallery.
When she deliberated about which artist to show first in her new
office, Jean recalled the intriguing work of Terry Durst she saw one
year prior in an exhibition at SPACES, which at the time was located
in the warehouse district. So, on September 28, 1990, Durst’s Olde
Stuff became the Brandt Gallery’s first solo show. Since then, Jean’s
space has been filled with over 200 exhibitions and performances by
artists who are drawn to her and her gallery.
Jean’s focus has always been on solo shows. Her 400 square-foot
office is aptly sized for single-artist exhibitions, and she is able
to fill a niche in the art landscape that was so focused on group
exhibitions. A solo venue gives artists ample opportunity to see
an idea to its end and display it for the public; group shows, in
contrast, function more as samplers of the artists’ work, or they
play more toward a curatorial concept. Brandt also wants to give
an opportunity for younger artists to “cut their teeth” or more
established artists the chance to execute an idea that would work
well in her type of space.
Since Brandt Gallery is not a non-profit nor is art sales her
focus (unlike a commercial gallery), her office provides a unique
platform to highlight work that would get overlooked by nonprofits
and commercial venues. Brandt is guided not by aesthetics,
but by ethos—it’s about ideas and work by regional artists, not a
particular style. Although she does show work from artists outside
of the region, they often have ties to Northeast Ohio. The nature
of the work in the Brandt Gallery varies widely from traditional
photography to performance art and poetry.
Brandt recalls fondly a performance by Nancy Prudic in August of
2004, during which the artist’s piece was interrupted by four figures
in hazmat suits who tied her up and hauled her out of the gallery
space. The audience sat dumbfounded and kept looking to Brandt
Location 1028 Kenilworth, Cleveland
Phone 216.621.1610
Web www.brandtgallery.org
Email jeanmbrandt@gmail.com
Facebook Brandt-Gallery
GALLERY HOURS
Saturday: Noon – 6 p .m . (during exhibitions)
other times by appointment
During the Tremont Artwalk: 6 – 10 p .m .
(the second Friday of the month)
A BRIEF HISTORY
Started by Jean Brandt in 1990 as a way to surround her
400 square foot law office in art, the Brandt Gallery was
an early participant in the Tremont Artwalks and the
neighborhood’s revitalization . After twenty-one years,
the gallery is now one of Tremont’s longest-running art
venues .
Among the artists exhibiting there are Laila Voss, Peter
Dell, Kathy Ireland Smith, Bruce Edwards, Daiv Whaley,
Judith Brandon, Scott Pickering, Dana Depew, Dan
Tranberg, Anastasia Pantsios, and Steven Mastroianni .
In September, 2011, Steven Mastroianni and Dana Depew
coordinated a 21-year retrospective that spanned both
for a reaction and guidance. After a while, Prudic returned to the
gallery and informed the audience that her friend Steve Kurtz, a
Buffalo-based artist and member of the Critical Art Ensemble, was
similarly hauled away by the authorities on slim-to-no-evidence for
simply making his art. The figures in the hazmat suits were all part
of the performance. Prudic wanted people to know what the rising
paranoia in the United States had lead to, and she wanted to bring it
closer to home.
By day, Jean Brandt is a mild-mannered (not really) lawyer, but
at night she teams with other heroes: artists who are part of our
community here in Cleveland, who are our neighbors, who are
building our social structure—to remind us of our humanity and
goodness.
Christopher Lynn is executive director of SPACES.
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Brandt’s and Mastroianni’s galleries and included more
than 50 artists . In its history, Brandt Gallery has featured
more than 200 exhibitions .
In addition to art exhibitions, the gallery also hosts
poetry readings at 3 p .m . on the second Saturday of
each month . The readings are held by Cleveland poet
Russel Vidrick .
UPCOMING SHOWS
January
Cleveland School artists from the collection of the Thal
Trust
February
Paintings by Craig Martin, drawings by Jeff Curtis
March
New work by Daiv Whaley
Bay crafters grounds.
Jean Brandt with works by Dana Depew.
page ten : : : north east ohio collective arts network journal north east ohio collective arts network journal : : : page eleven
PHOTO: STEVEN MASTROIANNI

CiTy ArTiSTS AT WOrk
AT WORK IN THE CITY By Vince Reddy
city artists at work highlights artists’ presence in the neighborhood
For 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 of
finished works of art, visitors see the places where art-making takes place, and sometimes get to see art-making in
progress . The organization—which is unincorporated, and runs without a formal governing board—is unusual in both
the 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 in
Cleveland’s Art Quarter, a district bounded approximately by Lake
Erie to the north, Prospect Avenue to the south, and East 18th
and East 40th Streets to the east and west. The neighborhood is
attractive to artists looking for studios due to the inexpensive space
afforded by its collection of older loft buildings—many of which
have roots in Cleveland’s once-immense garment industry.
According to artist Bill Jean, one of the CAAW’s founding
members, the organization emerged around the time that the
regional art and architecture-oriented New Organization for the
Visual Arts (NOVA) was nearing the end of its run. Open-studio
events were also among NOVA’s offerings, but the events had
become scattered geographically. By limiting its scope to artists
working in the relatively compact arts district that was emerging
east of downtown, City Artists At Work was able to offer a more
navigable tour for visitors and a steadier flow of traffic for the artists
who’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 participating
studios were in one of three buildings—the Heller, Artcraft, and
Shovelworks. The number of artists has grown over time, but not to
an unmanageable degree. Neither have the CAAW events outgrown
their original neighborhood. Still, the artists made adjustments over
the years to prevent the annual tradition from becoming stale—
including the addition of a spring event one year, and switching
from a schedule that included Friday nights and Saturdays during
the day to a Saturday-Sunday, daytime format.
Mindy Tousley, another of CAAW’s founders, notes that, over the
years, the group has drawn upon the talents of its members (which
usually include 50 or so artists) to produce brochures and posters,
as well as unique keepsake items that visitors were able to collect as
they moved from studio to studio.
In October 2011, CAAW took a new approach. Instead of opening
their studios to visitors, 32 artists participated in a show at the
Convivium 33 Gallery on East 33rd Street. Members’ works were
selected by Cleveland Museum of Art associate curator of American
painting and sculpture, Mark Cole. More than 600 people attended
the opening on a Friday evening, and the weekend continued with
similarly well-attended workshops on acrylic painting, maskmaking,
printmaking, and creative card design.
CAAW’s neighborhood, which covers parts of many contiguous
and overlapping districts (including Midtown, the Campus District,
St. Clair-Superior, and Asiatown), is in the part of town that many
associate with Cleveland’s still-nascent live-work movement. Most of
the artist-members, however, have studio space in the neighborhood
and maintain their living quarters elsewhere. Still, the revival of
the Tower Press Building several years ago has brought a number
of live-work units into the area, and Artspace Cleveland—which
works to create opportunities for artists wanting live-work space
in Cleveland—is one of City Artists at Work’s many partner
organizations.
The studio tours conducted by CAAW are not to be confused
with those offered through the Downtown Cleveland Alliance’s
geographically more extensive Sparx City Hop, though its activities
are often scheduled to coincide with the Sparx events.
By keeping its mission uncomplicated, CAAW has been effective
and remains viable today. But the organization doesn’t only call
attention to a community of artists that is not obviously apparent to
passersby. By bringing to light some of the ways artists contribute
to city life, and by entertaining questions about artists’ roles in
revitalization and gentrification of city neighborhoods, City Artists
at Work also sheds light on how Cleveland works as a city.
Vince Reddy, AICP, is a project manager at Cleveland Public Art.
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Location 2218 Superior Avenue, Cleveland
Phone 440.238.5674
Web www.cityartistsatwork.com
Email wmjean@aol.com
Facebook City Artists at Work
MISSION
City Artists at Work is a grassroots organization of artists
whose mission is to educate the public by exposing them
to what artists do, and where and how they do it . The
public, in turn, provides the artists with critical analysis
and in some cases unusual insight . . The vehicle to
accomplish this has been Open Studio Tours, wherein the
artists interact with the public one-on-one and receive
immediate feedback on work in progress . City Artists At
Work’s secondary mission is economic: we bring people
from the suburbs (and most of our visitors are from outside
the city of Cleveland), and in some cases from outside of
Ohio into the city where they buy art, dine and generally
leave with the impression that the city is not so scary after
all . Our third priority is political: we are a community, and
as such can band together to accomplish things, such
as the branding of the Art Quarter .
A BRIEF HISTORY
City Artists at Work is a grassroots organization, founded
by painter William Martin Jean in 1997 . Jean and other
artists, including his co-chair Mindy Tousley, were
responding to both the closure of another organization
representing the interests of the region’s visual arts
(NOVA, the New Organization for the Visual Arts), and
also to the number of artists who were at the time moving
into the neighborhood now known as the Campus
District .
The organization now represents more than 60 individual
artists and organizations whose studios or live/work
spaces are located in that neighborhood . In addition
to its open studio weekend events, the group presents
annual exhibits of work by member artists in the nearby
offices of the Plain Dealer.
PHOTO: CITY ARTISTS AT WORK
CLEvELAND ArTiSTS FOUNDATiON
FOR THE RECORD By Hilary Aurand
Cleveland Artists Foundation collects, documents, and shows NEO art of the 20th Century
The Cleveland Artists Foundation (CAF) was founded in 1984 by Cleveland-based artists, patrons, and collectors . The
first location was in University Circle, on Bellflower . The organization moved to the Beck Center for the Arts on the near
west side in Lakewood in the late 1990s . The Cleveland Artists Foundation is dedicated solely to examining regional art
and architecture, and is supported by regional art patrons, collectors and the families of the artists . It is a collecting
institution that rotates four major exhibitions a year . The organization is supported through cash and in-kind contributions
of many individuals, foundations, corporations, and through state funding, memberships, and fundraisers .
The Cleveland Artists Foundation develops all shows with a
balance between old and new, including artists both living and
who have passed on. CAF has had a number of significant shows,
with major retrospectives on Cleveland artists such as painter Paul
Travis, painter Carl Gaertner, and glass sculptor Edris Eckhardt.
Although the core of the CAF collection dates from the early
twentieth-century, and is focused around the Cleveland School
artists, executive director Lauren Hansgen and her programming
committee lately have been focusing on artists whose careers have
spanned the 20th century. A retrospective on Joseph O’Sickey
was shown in 2007 and most recently “The Way of All Flesh”, an
exhibition on the works of Shirley Aley Campbell.
In 2011, CAF presented its first ever members’ show, “Cleveland
Creates”, which featured work created by more than 60 member
artists. Works included paintings, prints, drawings, photographs,
sculpture, and ceramics. The gallery begins the new year with “August
Biehle in Zoar,” an exhibit of works the artist completed in Ohio,
which were influenced by the Germanic traditions he developed while
studying in Munich. It’s open through March 9, 2012.
As a collecting institution, the Cleveland Artists Foundation
publishes catalogues that coordinate with each exhibit. Research
for these catalogues is collaborative, involving regional scholars and
other educational institutions. Often these catalogues are the most
thorough documents published on the artists being shown. The
exhibited artists were well known in their day on a regional context,
and CAF respects that and has given much of their work
a permanent home.
As Lauren Hansgen says, “the organization is inspired by the
personal nature of the art that we exhibit. It is fundamental that the
local public can connect with the history of this region. Many of the
CAF board members and visitors are regional collectors, so there is a
vested 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 continue
archiving, because so many of the resources are quickly disappearing.
For instance, Lauren referred to a box full of cassette tapes that
need to be digitized. These cassettes, recorded in the 1970s, contain
interviews with regional artists –oral histories of their works and
processes. Some of them are all that is left of the artist’s personal
message. This is just one of the many projects Lauren is working on
Location 17801 Detroit Avenue, Lakewood
Phone 216.227.9507
Web www.clevelandartists.org
Email laurenhansgen@clevelandartists.org
Facebook Cleveland Artists Foundation
GALLERY HOURS
1 p .m .–5 p .m . Tuesday through Saturday
1 p .m .–8 p .m . Fridays and Saturdays when Beck Center
for the Arts has performances on stage
MISSION
The Cleveland Artists Foundation preserves, researches,
collects, exhibits, documents, and promotes the
significant visual art and architecture of the Northeast
Ohio region .
HISTORY
The Cleveland Artists Foundation was founded in 1984
by Cleveland-based artists, patrons, and collectors . It
has become the premier center for the art of Northeast
Ohio—owing both to its significant collecting initiative,
and to its commitment to creative exhibition planning
and educational outreach .
Initially, the Cleveland Artists Foundation’s mission
focused primarily on a group of artists known as the
“Cleveland School” who were active from 1900 to 1950 .
so 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 her
internship through Case Western Reserve University, where she was
earning her Masters in Museum Studies and Art History. She began
working as the gallery director in 2008, and has since become the
director extraordinaire.
The Cleveland Artists Foundation is taking ambitious steps to keep
the record and work of significant northeast Ohio accessible and
alive. Steps include photographing and digitally cataloguing the
entire collection so that it can be viewed on the website. Catalogs
printed 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 also
include a re-branding project that will better describe the mission
of the organization, as Cleveland Artists Foundation continues to
promote the significant visual art and architecture of Northeast Ohio.
Hilary Aurand is co-director of legation, a gallery
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In recent years, CAF has broadened its historical scope
to integrate the contributions of artists who were active
before and since the Cleveland School . In particular,
CAF now devotes attention to the achievements of the
most significant artists in Northeast Ohio whose period of
productivity has encompassed all or part of the last 50
years . By broadening its earlier scope, CAF has created a
forum that encourages a more comprehensive discussion
of artistic traditions and innovations in Cleveland .
UPCOMING EVENTS
August F. Biehle, Jr. in Zoar
January 13 – March 9, 2012
Artists of Cowan Pottery Studios
March 23 - May 5, 2012
Mieczkowski in Black and White
(MA student thesis exhibition)
May 18 – July 28, 2012
Tom Balbo Retrospective
and exhibitions sponsored by Octavofest 2012
September 7 – November 17, 2012
The Kisvardai Collection
December 7, 2012 – February 16, 2013
Open studios.
John Hay High School students view work of architect Don Hisaka.
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PHOTO: CLEVELAND ARTISTS FOUNDATION

CLEvELAND ArTS prizE
HONORING THE PAST, INFORMING THE FUTURE
the cleveland arts prize takes up the challenge
For Cleveland, that catalytic moment came in 1960—just over half
a century ago—when the late Klaus Roy was presenting a lecture to
the Woman’s City Club. Recruited to Cleveland by the legendary
conductor George Szell to serve as the Cleveland Orchestra’s
program annotator, the Vienna-born writer and composer
challenged the women in his audience to create a way for Cleveland
to acknowledge and honor its artists—just as European cities do.
It would take a pillar of the Cleveland arts community to marshal
the effort. Martha Joseph—a native Clevelander educated at the
Sorbonne and the University of Dijon, and the wife of longtime
Musical Arts Association president Frank Joseph—was just the
person. For some perspective on her persona, look no further than
the fact that the French government would eventually award her
the title Chevalier de L’Ordre des Arts et Lettres, for founding
another local arts institution—the Cleveland International
Piano Competition.
Martha Joseph championed the Cleveland Arts Prize as a program
of the Woman’s City Club for its first 30 years, and led a drive to
establish an endowment to fund it. Under the tenure of Mary Louise
Hahn, who chaired the organization from 1990 to 2000, CAP
commissioned an Arts Prize medal, launched a scholarship program,
and established the tradition of holding an annual awards event in
cultural venues throughout the city. The organization codified and
published its selection criteria and became an independent nonprofit
organization under the leadership of Diana Tittle, who was a prize
recipient for writing in 1997 and led the organization from 2000 to
2004. Former Tri-C Jazz Festival director Terri Pontremoli led the
By Michael Gill
Honoring the artistic past sounds like something worth doing, but for that to be anything more than a platitude
takes a catalytic moment . And if the honor is to weave its thread through history, creating a record of what fine
work our people have done, it takes dedicated effort, sustained across the years .
organization in 2005, and then in 2006 turned over the reigns to its
current executive director, Marcie Bergman.
Now the oldest award of its kind in the United States, the Cleveland
Arts Prize is a testament to the standard of excellence and quality
of artists in Northeast Ohio. In addition to artists, the Arts
Prize honors individuals who have expanded the community’s
participation in the arts and helped make the region more hospitable
to creative artistic expression.
It’s a project launched under Bergman’s leadership that brings
the prize into the digital media age. Ms. Bergman is particularly
excited about the Documentary Shorts Video Series, a collaboration
with film maker Ted Sikora, designed to promote and archive
the incredibly talented recipients of the CAP and document their
work. In stunning videos, Sikora has captured CAP recipients in
frank discussions on their art and in surprisingly intimate moments
creating their work. Some of the artists are interviewed while at
work in their studios, which allows for revealing and unpretentious
discussion of their work and background. Accessible by the click of a
mouse through the CAP website and through CAP’s Vimeo channel
(http://vimeo.com/channels/artsprize), the videos have attracted
many national and international viewers.
A brief promotional video featuring snippets of artists recognized
in the Award series’ first fifty years gives a peek into the native
Cleveland talent that would inspire such far-ranging interest: Jazz
singer Jimmy Scott, the “famously dyspeptic” writer Harvey Pekar,
the “boldacious” choreographer Dianne McIntyre, painter Joseph
O’Sickey, and designer Victor Schreckengost all talk about their
work, inspiration, and key moments in their careers.
Bergman says new videos are being uploaded to the site as they are
completed. The goal is to release approximately 50 videos by 2013.
CAP is also seeking sponsorship of videos. Information on how to
become a sponsor is available on the CAP website.
Another new program also stirs Bergman’s enthusiasm. This year
will see CAP commission art for the first time. Each piece, to
be created by a CAP visual art recipient, will be unique, made
in a limited series and offered for sale through the CAP. Again,
the project is inspired by the goal of promoting and recognizing
Cleveland artists.
In addition to honoring the past, the Cleveland Arts Prize enables
the artists of the future with four scholarships available to students
pursuing arts disciplines at Cleveland institutions.
The John Paul Miller Scholarship is awarded annually to a student
at the Cleveland Institute of Art; the Klaus Roy Scholarship
is awarded to an orchestral student at the Cleveland School of
the Arts; the Literature Scholarship is awarded to a student at
Cleveland State University; and the Kathryn Karipides Dance
Scholarship is awarded to a graduate student in dance at Case
Western Reserve University.
Michael Gill is editor of CAN Journal.
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Location P.O. Box 21126, Cleveland
Phone 440-523-9889
Email info@clevelandartsprize.org
Web clevelandartsprize.org
Facebook Cleveland Arts Prize
MISSION
The Cleveland Arts Prize mission is two-fold: First, to identify,
reward, publicly honor and promote those creative artists whose
original work has made Northeast Ohio a more exciting place
to live, and whose accomplishments have set a standard of
excellence to which other artists can aspire .
And second, because artists are essential to a healthy
community, and because the arts need a supportive
environment and an engaged public, it is also the mission of The
Cleveland Arts Prize to recognize the contributions of individuals
and organizations that have expanded the community’s
participation in the arts and helped make the region more
hospitable to creative artistic expression .
Artists, art professionals and the general public are encouraged
to nominate artists for the prize . Nominations can be made
on-line at the CAP website . The nominations deadline for 2012
Awards is February 29th, 2012 . Winners will be announced around
May 1st and will be honored at the 52nd Annual Awards Event,
June 30, 2012 at the Cleveland Museum of Art .
A BRIEF HISTORY
In 1960, Martha Joseph took up a challenge issued by visiting
composer Klaus Roy to acknowledge and honor Cleveland’s
artists . For 30 years, Joseph guided the Cleveland Arts Prize as a
program of the Club, and led a drive to establish an endowment .
Marcie Bergman became executive director of the Cleveland
Arts Prize in 2006, and under her leadership the organization has
not only managed the nomination of artists and performers, but
has also created companion programs, scholarships, and events .
Among the organization’s programs are a series of documentary
short videos (vimeo .com/channels/artsprize), and in 2012, for the
first time ever, an annual commission for a work by a CAP visual
artist which will be available for sale in a limited edition .
The Cleveland Arts Prize supports four scholarships for students:
The John Paul Miller Scholarship
annually to a student at the Cleveland Institute of Art
The Klaus Roy Scholarship
to an orchestral student at the Cleveland School of the Arts
The Literature Scholarship
to a student at Cleveland State University
The Kathryn Karipides Dance Scholarship
to a graduate student in dance at Case Western
Reserve University .
PHOTO COURTESY OF BILL JOSEPH
CiA viSiTiNg ArTiST prOgrAm
MODELING ACCESS AND BALANCE By William Busta
the cleveland institute of art visiting artist program opens doors
Every Friday during the school year at the Cleveland Institute of Art, the Lunch on Fridays program offers formal and
informal presentations and conversations with artists engaged with active careers .
The program brings together many of the artists who visit CIA each
year for all lengths of time. Some have been invited for a day by a
particular department, while others are in residence for an entire
semester as part of a major institutional initiative. The Artist in
Residence Programs is supported in part by the George P. Bickford
Fund for visiting artists, which was established in 1968 with the
charge of bringing artists of note to CIA for the students and for the
community at large.
Lane Cooper, visiting artist coordinator, describes Lunch on
Fridays as an opportunity for students to get an idea of the
possibilities of different models of professional activity, to get an
idea of how they might develop their own careers. “It is a way to see
something different, to see art as something beyond the classroom,
and it gives the students an opportunity to ask the questions that
they want to ask.” Those questions include “how the artists balance
studio practice with the practical parts of their profession, such
as sending out proposals or teaching, or what fuels their creative
engines—what the artists think about and how they maintain
excitement in their work.”
The public is also invited to Lunch on Fridays. It is a way that
CIA provides to make artists and art accessible and part of
the community.
While the direct experience of a work of art might be the best way
to understand it, sometimes it is not enough—especially if new
or unusual or from an unfamiliar cultural context. Museums and
art centers try to make up the difference by “educating” the public
about art—which often consists of talking to rather than talking
with. Sometimes this works. But for many—perhaps most—people,
having some sense of personal familiarity with the artist tells as
much. There can be much more of a window to understanding when
the viewer is able to hear how an artist talks about their work. Just
by knowing the artist a little, the art makes sense—it is intelligible
and even transcendent, in its dialogue with who the artist has been
in their formative years, with who the artist is in an illuminating
present, and what the artist’s potential might be.
Among the artists who will be featured in Lunch on Fridays this
year will be artists in residence from the Cuba Project, which
is bringing five noted Cuban artists to live, teach and create in
Location 11141 East Boulevard, Cleveland
Phone 216.421.7000
Web cia.edu/visiting_artists
Email lcooper@cia.edu
Facebook The Cleveland Institute of Art
MISSION
The Cleveland Institute of Art strives to nurture the
intellectual, artistic, and professional development of
students and community members through rigorous
visual arts and design education, and in so doing to
advance culture, community, and global quality of
life . Our success is derived from a pursuit of excellence,
the fostering of community, a holistic approach to
education, a culture of accountability, and freedom
of inquiry .
CIA’s Visiting Artist Program serves this mission by making
accessible artists and scholars of local, regional, national
and international significance to the Institute’s internal
community and the greater Cleveland community of
which we are a part . Lunch on Friday’s, a regular venue
for presenting artists and scholars is one means by which
the Institute achieves this . It takes place in CIA’s Gund
Building on every Friday at lunchtime, 12:15 pm, of the
regular semester and is free and open to the public .
RECENT HISTORY
A few of the artists who were featured as part of Lunch
on Fridays last year included: Sculptor and public artist
Brinsley Tyrrell, whose sculpture livens several Cleveland
Cleveland—two during the past fall, and three in 2012. CIA
describes the project as “seeing the culture of a nation weave through
generations as emerging and established Cuban Artists Share their
talent and vision. This year’s artists include Alex Hernandes, painter
and video artist; Jose Angel Toirac, painter and installation artists;
and Meira Marrero, art historian.
The lunch on Fridays programs is also a way of encouraging
interaction between students and the interested arts community
of 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 jointly
sponsored by the Liberal Arts and Foundation Environments with
additional support coming from other Cleveland Institute of Art
Environments.
William Busta is director of William Busta Gallery.
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neighborhoods, and whose enamel landscapes were
recently exhibited at William Busta Gallery; Joe Kelly and
Jay Crocker, who have created real-time animations
to real-time music using home made instruments and
sound making devices from found objects, including
discarded toys; and, as part of the ongoing Cuba
Project, Alejandro Aguilera (who works through sculpture
installation, drawing, and improvisational mechanisms to
explore his relationship to art and history as they relate
to him as an immigrant) and Osmievy Ortega, whose
work revitalizes the print medium to represent scenes of
subcultures, social margins and identity .
COMING EVENTS
The Bickford Visiting Artist Series lectures are free and
open to the public, and take place in CIA’s Aitken
Auditorium of the Gund Building at 11141 East Boulevard .
Feb 15, 7pm – Nick Cave
on fashion and sound
Strategies of Performa: Scene and Unseen
Reception in Gund lobby before lecture
Mar 15, 7pm – Clarence Morgan
on painting and abstraction
Inspiration from a Painter’s Notebook
Apr 6, 7pm – Marek Cecula
on ceramic art
Industrial Interventions
Cleveland Arts Prize founder Martha Joseph.
Cuba Project visiting artist Alejandro Aguilera.
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PHOTO: ROBERT MULLER/CLEVELAND INSTITUTE OF ART

CONviviUm 33
FEAST YOUR EYES By Gina DeSantis
convivium33 revives church building as place to “celebrate and feast”
Throughout Cleveland old factories, lofts and other buildings have been converted in artist studio spaces and
galleries . Convivium33 Gallery has something in common with that trend, but is rare in that it reuses not an industrial
space, but the former St . Josaphat Roman Catholic Church .
The church was originally built in 1915. However, due to economic
hardships it was forced to close its doors in 1998. The community
was unable to support necessary renovations to the building. It
was de-sanctified by the Catholic Diocese, and religious artifacts
were removed. Then, in 2001, Alenka Banco bought the building
and began renovations. Alenka’s passion for buildings is evident
in her background which includes working for a local non-profit
in commercial development, managing an arts building and
opening a small gallery in Tremont (Eddie Moved) which she also
renovated . Alenka is currently pursuing her Masters degree in
Historic Preservation. She opened the stately edifice 2005, with
Convivium33 Gallery located in the former church’s nave.
Alenka greets me as I enter Josaphat Art Hall. She makes sure to
speak with everyone who visits, offering insight into the history
of the space and its current exhibition. A retrospective show by
Shirley Aley Campbell hangs on the walls. Her five foot by seven
foot portraits fit comfortably throughout the nave—not the least
bit overwhelmed by the architecture. Alenka’s goal is to create a
professional and unique experience for each visitor. Her appreciation
for this space, along with Cleveland and its artists is apparent
through her approach and the exhibitions she presents throughout
the year. Alenka feels the artists who live and work in Cleveland are
the city’s greatest asset.
Location 1433 East 33rd Street, Cleveland
Phone 216.881.7828
Web www. http://josaphatartshall.com
Email convivium33@josaphatartshall.com
Facebook Convivium33 Gallery at Josaphat Arts Hall
MISSION
It is the personal relationship between art, space and
self that is the foundation for Convivium33 Gallery, which
is located in the nave of the former church . Proprietor
Alenka Banco asks, “So, what are four walls anyway?
They are . . . .what they contain .” Josaphat Arts Hall is
unique and special in many ways . The sacred structure
which will house the new Convivium33 Gallery will also
be the new location for several art business studios .
The economic benefits which enrich communities
through the arts are recognized . A visit to the building
can introduce a guest to the arts through interactive art
opportunities . Private classes, workshops and lectures
are now being offered in the individual studio businesses .
Included are stained glass, painting, web design, glass
fusion and slumping .
Interested artists are encouraged to visit studio residents,
or e-mail properties@josaphatartshall .com for more
information .
She named Convivium33 for a Latin term that means “to celebrate
and feast.” The gallery continues to act as a community gathering
space and celebrates the work of talented regional artists. Only
three to four exhibitions are hosted throughout the year, including
both solo and group shows. Alenka feels the large space is best
suited to accommodate an entire portfolio or retrospective. This
gives seasoned artists the opportunity to show close to home. The
gallery launched with the work of painter Thomas Frontini. Other
significant solo exhibitions include photographer and mixed-media
artist Christopher Pekoc, photographer Michael Levy, printmaker
Phyllis Seltzer, sculptor -painter Clarence Van Duzer and Outsider
artist Reverend Albert Wagner.
Alenka also has a tradition of shows assembled by guest curators,
including the painter and critic Douglas Max Utter (whose essay
appears in this issue of CAN Journal), and Cleveland Museum of
Art associate curator Mark Cole. This year, the noted Cleveland
photographer Herb Ascherman will curate an exhibit which will
make its way to Paris Photo 2012. Also this year, Convivium33 will
present a show of the late Cleveland artist and CIA graduate Scott
Miller. On the occasion of his death, Miller was described by curator
William Busta in a Plain Dealer story as “certainly one of the
most important artists in Cleveland in the late 20th century.” The
painter exhibited his work around the world, including galleries in
New York, Los Angeles, Key West, Fla., Toronto, Paris, Tokyo and
Amsterdam. He passed away in 2008.
A BRIEF HISTORY
Facing declines in its congregation and revenue, St .
Josaphat Roman Catholic parish closed its doors in
1998 . After running a gallery called “Eddie Moved” in
what had been the former home of a Tremont crack
dealer, Alenka Banco came upon the space that was
to become Convivium33 just as movers were removing
its furniture . The former St . Josaphat Church was up for
sale, and she immediately saw its potential as a gallery .
It wasn’t until years later, in 2001, that she bought the
de-sanctified church from the Catholic Diocese of
Cleveland . After two full years of almost continuous
renovation, including the installation of a new roof and
heating system, she opened Convivium33 .
UPCOMING SHOWS
Scott Miller (1955-2008), curated by Alenka Banco
May 25-June 29, 2012
Paris Photo2012 CLEVELAND, curated by Herb Asherman
September 12-September 16
Pulp Imaging, curated by Lynn Sures
October 17-October 21, 2012
Thomas Frontini, curated by Alenka Banco
December 7-January 11
Josaphat Arts Hall refers not only to Convivium33, which occupies
the church’s nave, but to the entire building – which includes office
space, a basement, and other quarters. In addition to the gallery,
the Hall houses several artist studios. Working within its walls are
glass artists, furniture makers and painters. The working artists
occasionally open their studios during the gallery events. The gallery
hosts events in addition to the exhibitions. Alenka also donates the
space to non-profits for fundraisers.
Alenka’s preservation and transformation of St. Josaphat Roman
Catholic Church has given the community a new place to gather.
It separates itself from other venues with its architecture, which
merges seamlessly with art that hangs on its walls. Thanks to
the renovations, Convivium33 Gallery has received awards from
both the AIA Cleveland, American Institute of Architects and
the Cleveland Restoration Society. Originally built as a gathering
space, Convivium33 Gallery carries on the building’s history and
mission with great success and one of Cleveland’s most foremost
exhibition spaces.
Gina DeSantis is a ceramic artist and coordinator of the Screw
Factory Artists.
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PHOTO: CONVIVIUM 33
hEighTS ArTS
A VILLAGE IN THE HEIGHTS
heights arts focuses on the community
If ever the stars have aligned for a group of people that wanted to do a good thing for their community, it was for
the people who launched Heights Arts .
It was the year 2000. A group of Cleveland Heights residents
including Peggy Spaeth, Greg Donley, David Budin, Cathy Culp,
and Steve Presser invited Community Partnership for the Arts and
Culture CEO Tom Schorgl to meet with them in Spaeth’s family
room. Their purpose was to talk about how a new organization
in town might support the many artists and performers who
live in Cleveland Heights, and simultaneously help the city’s
neighborhoods stay strong.
Simultaneous with that discussion, the City had embarked upon
a visioning process to plan for the future. And through CPAC,
Schorgl had begun building an argument for public funding to
support the arts in Cuyahoga County. A keystone in that argument
was how the arts could play a key role for communities—supporting
both quality of life and neighborhood economies.
“We had about a dozen people, and came up with a laundry list of
ideas,” said Spaeth, who is now executive director of Heights Arts.
The list included a gallery—because, for as many high quality visual
arts who call Cleveland Heights home, there was at the time no
year-round art gallery in the city. They wanted music programming.
They wanted to support poets. And they wanted to use public art to
improve the streetscape.
All that energy resulted in Heights Arts, which quickly established
itself as a major force for artists and neighborhoods in the region.
In 2002 space became available in a storefront adjacent to a popular
independent movie theater on Lee Road. They organized a “pop-up”
holiday store that proved so successful that they signed a lease for a
full-time gallery. In 2010 the small gallery expanded into an adjacent
storefront and now includes a space for classes and workshops.
It’s a small amount of physical space, which serves the organization
well by keeping expenses down.
Indeed, Heights Arts focuses on four program areas, only one of
which depends on committed physical space. That’s the art gallery
itself, which presents six exhibitions each year.
In addition to the gallery, Heights Arts collaborates with the City
of Cleveland Heights on its poet laureate program. Supported
by Cleveland Orchestra violinist and Heights Arts trustee Isabel
Trautwein, a chamber music series presents four house concerts a
year, which consistently sell out.
But the organization’s biggest visual impact probably comes from
its public art installations, and collaborations with neighborhood
groups on the design of public space.
“We facilitated public art projects, both permanent and temporary,
for several business districts—Cedar-Fairmount, Coventry, Cedar
Lee, Larchmere, and Cedar Center,” Spaeth said. “Those projects
have included signage, murals, benches, the iron fences on Coventry,
“Fencepiration,” and “Knitscape”—the temporary installation of
colorful, form-fitting, knitted covers for parking meters, trees, and
other features of the streetscape in selected neighborhoods.
Spaeth believes in grass-roots, community level activity, which
is what Heights Arts is all about. “There’s an awful lot to be said
for the ‘village’ concept,” she says. “We have wonderful large
cultural institutions, but we also need smaller organizations in the
community that deliver art on a daily basis. The arts should not be
apart from life, but a part of life.”
Michael Gill is editor of CAN Journal.
Convivium 33 on opening night.
Heights Arts’ “Knitscape” public art installation.
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By Michael Gill
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PHOTO: HEIGHTS ARTS
Location 2175 Lee Road, Cleveland Heights
Phone 216.371.3457
Web http://www.heightsarts.org/
Email heightsarts@heightsarts.org
Facebook Heights Arts
GALLERY HOURS
Monday, Tuesday, Wednesday 10-5
Thursday, Friday 10-9:30
Saturday 1:30-9:30
Closed Sunday
MISSION
Heights Arts is a nonprofit community arts organization in
Cleveland Heights, Ohio . Heights Arts cultivates a strong,
diverse, and collaborative arts community by inspiring
people of all ages to engage in the arts; supporting
the arts through education; providing exhibition and
performance opportunities; and fostering public
appreciation for the arts .
Heights Arts Gallery’s mission is to present significant
art to the community; emphasize regional artists, with
special attention to Heights artists; collaborate and
foster collaboration among area artists and institutions;
advance the arts and artists; and stimulate wider art
appreciation .
A BRIEF HISTORY
Heights Arts was founded in 2000, as a result of grassroots
leadership in collaboration with the city . Since
then Heights Arts has created a place rich with artists,
performers, art educators, administrators and others
who make their livelihood in the performing or visual
arts . We contribute to the region’s artistic vitality
by showing regional artists at Heights Arts Gallery,
facilitating public art and design projects, presenting
chamber music and other concerts in intimate settings,
nominating and supporting the Cleveland Heights Poet
Laureate, and having classes and workshops in the
arts . As a multidisciplinary arts organization, we tap
into the potential of our creative residents to enrich
community life .

kENNETh pAUL LESkO
THE ROAD SHOW COMES HOME By Susan Kelley
the historic and the contemporary mingle at kenneth paul lesko gallery
Standing outside the Kenneth Paul Lesko Gallery on the second floor of 78th Street Studios you are immediately
taken by the mix of clean, industrial style metal and glass fixtures with the warmth of the wood detailing—beginning
with 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 and
elegance: minimal furniture and fixtures (apart from those glass
door handles) maximizes the art on display. The art is the star of the
show, and the Leskos have done everything possible to make that the
focus of your experience.
Owners Kenneth Paul Lesko (Executive Director) and his son Ross
Lesko (Gallery Director) work hard to achieve quality with every
exhibition. Between the two of them, they have more than 60
years of experience in the art world. Ross literally grew up in the
business of dealing in significant art at shows and auctions around
the country. For decades, most of their business was done on the
road. 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 combination
of historical and contemporary artwork.
With an international reputation for dealing in high quality art, they
could have settled anywhere and been successful. But, being from
the Cleveland area, they felt that the quality of arts and culture here
could match any other major city. So when they decided in 2003 to
open a gallery as permanent exhibit space, Cleveland was the only
choice. They have been at 78th Street Studios longer than any other
gallery in the building.
Since opening the gallery, they have added “Cleveland School”
Artists (early to mid-20th century artists connected to Cleveland) to
their historical collection and have launched six Cleveland School
exhibitions. They have also added contemporary Cleveland artists to
their collection and exhibition schedule, including Cleveland artists
in solo, two-person, and group exhibitions.
What the Leskos bring to Cleveland is a unique glimpse of Modern
historical and contemporary art from around the world, matched
whenever possible with the work of local artists. This also affords
out-of-town visitors to see the quality of work being produced in
Cleveland. A good example of this is their annual Cinema Exhibition
(designed around the idea of cinema as a translated medium). Of the
18 artists (from eight cities and two countries) featured in Cinema
01, eight were from Northeast Ohio. The following year, in an exhibit
that featured 17 artists from 12 cities and four countries, four of the
artists were contemporary Clevelanders.
The galley is open Wednesday through Saturday and well worth
the visit. If you visit their website kennethpaullesko.com, a click on
“Previous Exhibitions” will give you an idea of the high quality and
varied range of art work available at the Kenneth Paul Lesko Gallery.
Susan Kelley is office manager at the Morgan Conservatory.
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Location 1305 West 80th Street, Cleveland
Phone 216.631.6719
Web www. kennethpaullesko.com
Email gallery@kennethpaullesko.com
Facebook Kenneth Paul Lesko Gallery
GALLERY HOURS
Wednesday-Saturday, 12:00pm-5:00pm
A BRIEF HISTORY
Kenneth Paul Lesko Gallery opened in 2003, after
exhibiting at Modernist venues around the country for
more than 20 years . Executive director Kenneth Paul
Lesko and his son, gallery director Ross Lesko have lived
in the Cleveland area for most of their lives, and decided
to open the gallery in Cleveland as an experiment . In the
intervening years, they have had significant exhibitions of
historical and contemporary paintings and sculpture, by
both Cleveland artists and artists from around the world .
Other exhibitions include Vintage and Contemporary
Photography, Tribal Art, American Studio Pottery and
Contemporary Glass, as well as their annual international
exhibitions of Cinema Inspired Artwork .
UPCOMING SHOWS
(subject to change)
Judith Brandon [Cleveland, OH]: Solo Exhibition
Director’s Choice 2012: Historical & Contemporary
Gregory Lowell Smith [Banner Elk, NC]: Solo Exhibition
Jane Millican [London, UK]: Solo Exhibition
Troy Gua [Seattle, WA]: Solo Exhibition
Cinema 03: International Group Exhibition
Kasumi [Cleveland, OH]: Solo Exhibition
PHOTO: ROSS LESKO
kOkOON ArTS gALLEry
OUT OF THE KOKOON By Michael Gill
in the past, present, and future: exhibiting the drive to break free
Kokoon Arts Gallery got its name from old Cleveland lore . The original Kokoon Arts Club—founded by early 20th
century 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 forms
of expression (as alternatives to the conformity of academic art), but also for “extravagant parties that featured
unconventional costumes, exotic dances, opening processions, enormous props and clashing decorations, and
unpredictable ‘stunts’ throughout .”
The old Kokoon Arts Club has had a bit of attention recently, thanks
to Henry Adams and Lawrence Waldman’s book, Out of the Kokoon,
published in 2011 in conjunction with an exhibit at the Cleveland
Public Library.
If that makes William Scheele’s Kokoon Arts Gallery sound like it
emphasizes the past, that’s only partly true. In fact, Scheele’s gallery
is equally informed by the Kokoon Arts Club’s drive to press onward
into a future of ever expanding creative possibilities.
Scheele is certainly grounded in twentieth century art from
Cleveland. In 1984 he founded and directed the Cleveland Artists
Foundation, which initially focused on early twentieth-century
artists of the Cleveland School. Scheele’s father—a painter of
imagined scenes from the natural history world (who became
Director of the Cleveland Museum of Natural History in 1949) was
a strong influence.
But the other nonprofit organization Scheele founded—the New
Center for Art and Technology, or NewCAT—looked toward the
future. The organization’s 2002 inaugural exhibition brought an
international collection of computer graphic art called The Digital
Hall of Fame to Cleveland. It was the first time the work had ever
been exhibited in the United States. Over the next four years,
NewCAT presented work from the annual Macworld Digital Art
Gallery; produced a forum and exhibition on Creative Industries at
CASE University; and participated in the first Ingenuity Festivals.
“One of the interesting things that happened at NewCAT is that
many people came to our exhibitions out of curiosity for the
newness,” Scheele said. “People were aware of digital art, but didn’t
know how it was done. It was like when the camera was new. People
had to realize that technology doesn’t just make art. That requires
an understanding of the machine. Making art requires human
intervention.”
Both currents have a strong presence at Kokoon Arts Gallery. “What
interests me is work that spans the ages—looking at how historic
artists may treat a subject matter, and how contemporary artists are
dealing with it,” he adds.
Location 1305 West 80th Street, Cleveland
78th Street Studios
Phone 216-832-8212
Web www.kokoonarts.com
Email williamscheele@gmail.com
Facebook Kokoon Arts Gallery
GALLERY HOURS
Friday & Saturday 11 am to 4 pm
or by Appointment
MISSION
The gallery shows historic and contemporary local
artists, along with artists from around the country and
world . Areas of artistic exploration include natural
history, spirituality & mysticism, local Kokoon Arts Club
& Cleveland School history, photography & computer
graphics . In that Spirit, Kokoon Arts Gallery presents
quality artwork from Traditional to Digital Media .
A BRIEF HISTORY
William Scheele established Kokoon Arts Gallery in
October 2007 in the 78th Street Studios facility . The gallery
continues the tradition established in 1911 by the Kokoon
Arts Club to promote a more modernist approach to
producing art, believing that artistic creativity should not
be limited by any conventional ideas or laws . Artists must
Scheele has run galleries exhibiting traditional and digital media
steadily since 1988, beginning in Cleveland Heights. His current
gallery is located in the 78th Street Studios.
By showing digital media in the same venue as historic Cleveland
School artists and illustrators of the natural world, Scheele draws a
broad cross section of art aficionados, and commonly exposes people
to work that stretches the limits of their appreciation.
“Sometimes I do see skepticism of new media,” he says. “There are
still people who are very stodgy. This is why I deal with everything
from traditional art techniques to computer graphics and video. To
me it is all intriguing. To me it is the human creative spirit that is
really interesting, and I love to show different ways to see the world.
That is why I remain in the business. I work from a passionate
standpoint. If I were in this for the money, I wouldn’t be here. This
is a labor of love.”
Michael Gill is editor of CAN Journal.
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always be free to explore new concepts, techniques and
creative tools . Therefore Kokoon Arts Gallery will always
revere and honor historic traditional media, but believes
the evolution of artistic creativity is never ending . .
2012 EXHIBITIONS
Nature Revealed: Wildlife & Environments
January 20 through April 14, 2012
Michael Nekic: Altered City
Michael Prunty: Recent Watercolors
Gary Spinosa: Temple of the Spirits
Randall Tiedman: InScapes
Andrea LeBlond & Donna Webb: Ceramics
Ernie Horvath, Susan Squires, Karen Kunc & Darren
Waterston: In Search of the Miraculous
Kenneth Paul Lesko gallery.
Kokoon Arts gallery.
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PHOTO: WILLIAM S . SCHEELE

LAND STUDiO/CLEvELAND pUBLiC ArT
THE ART OF PUBLIC SPACES By Harriet Gould
cleveland public art and parkworks join forces as land studio
The organization formerly known as Cleveland Public Art begins a new chapter in the new year, as it joins forces
with ParkWorks to create a single entity called LAND Studio, (LAND being an acronym for the combined entity’s
areas of focus Landscape – Art – Neighborhoods – Development) . The new organization will continue the work of its
parent 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 work
Cleveland Public Art has done to improve public spaces in the
city. By creating specific works and collaborating with other
organizations on their plans, Cleveland Public Art shaped the
experience of being in public places around Cleveland.
Founded in 1985, Cleveland Public Art completed many significant
projects 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—emphasize
collaboration. Community leaders in the city’s diverse
neighborhoods contact them for help identifying and creating
projects that will enhance their community’s vacant land,
playgrounds, and other features. Each project reflects the
neighborhood where it is located, resulting in artwork that is part of
each community’s identity. To ensure that all interested artists have
the opportunity to collaborate, the organization maintains a registry
of artists interested in working in the public realm. When projects
come together, all artists on the list are invited to submit proposals.
Many of Cleveland’s most delightful and iconic public spaces were
created or enhanced in collaboration with Cleveland Public Art.
The Eastman Reading Garden at the Cleveland Public Library is
one of Cleveland Public Arts most notable projects. The Garden is
a remarkable open urban space located between the Louis Stokes
wing and the original main library building. In the summer months
people flock there to meet friends, read a book and enjoy their lunch
in the beautiful outdoor space. Playful bronze figures by sculptor
Tom Otterness are scattered around the garden. They mischievously
rearrange and steal letters from its bronze gate. Continuing the theme
of words and meanings, sculptor Maya Lin created an L-shaped
fountain and reflecting pool. The title, “Reading a Garden,” can only
be 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 from
a distance thanks to Rotoflora, a 35-foot flower sculpture made
from steel, including recycled bicycle wheels, and illuminated with
energy-efficient LEDs.
Cleveland Public Art and ParkWorks were already collaborating in
2002, when they created the Orchard Park School playground, in
Ohio City. The project included 560 linear feet of fencing created
by sculptor Brinsley Tyrrell. Each 10-foot long, hand-forged
section 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 the
fence. The artist incorporated the crash into one of its scenes. The
artwork has become a community asset, adding vibrancy and
interest to the neighborhood.
In conjunction with the City of Cleveland’s recently launched Food
Cart Initiative, Cleveland Public Art has begun a program that pairs
the food cart operators with local artists to visually enhance the food
carts and boldly express each vendor’s offerings. . Making the food
carts into mobile works of public art is an immediate way to create a
brand for each new business.
Cleveland Public Art also provided consulting services to many of
the city’s civic investments, including RTA’s Euclid Corridor, the
Gateway Sports complex, the Cleveland Public Library’s downtown
expansion and the Medical Mart Downtown Mall project.
The non-profit frequently gives lectures, serve on panels, make
referrals from the artist database, and coordinates artist-selection
processes for organizations. Cleveland Public Art includes many
people and groups into the planning process to create a public
partnership project. They create synergies and relationships with
community development corporations, artists, foundations, other
non-profits and organizations to integrate art into the community.
The merger of Cleveland Public Art with ParkWorks to create
LAND Studio ensures that their efforts to beautify and improve
public spaces in the city will continue.
Harriet Gould is co-director of ArtSpace-Cleveland
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Location 1939 W 25th St, Ste 200, Cleveland, OH 44113
Phone pending the new organization’s number
Web www.land-studio.org
Email gpeckham@land-studio.org
MISSION
LAND studio’s mission is to create places and connect
people through public art, sustainable building
and design, collaborative planning, and dynamic
programming .
A BRIEF HISTORY
LAND studio was formed in 2011 through the merger
of Cleveland Public Art (CPA) and ParkWorks, two of
Cleveland’s leading non-profit organizations focused
on enhancing public spaces .
Historically, CPA had accomplished this through
stimulating public art and ParkWorks through the
creation and care of inviting greenspaces . But each
organization evolved over time to embrace larger
roles in the envisioning, planning, designing, building,
and programming of Cleveland’s public spaces .
And this evolution was a collaborative one, with both
organizations working together more frequently on
multiple projects citywide .
Eventually, the two parent organizations came to the
conclusion that by becoming more than occasional
partners, they could accomplish even greater work
for Cleveland . Thus, after a thoughtful merger process,
LAND studio was born .
PHOTO: CLEVELAND PUBLIC ART
LEgATiON, A gALLEry
A MARRIAGE OF ART AND MUSIC
legation, a gallery combines two loves
Legation 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 Akron
Firestone 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 someone
other than an ambassador. The Aurands define it as “the sending
forth of one person to act for another.” A gallery, or an agent, for
example, might act as a legation for an artist.
John says his resolve to make the gallery a reality comes from “not
wanting to regret the things you don’t do.” The Aurands decided to
open the gallery when circumstances aligned: They were looking for
a place to live, and at the same time, Hilary needed studio space.
So rather than buy a house in a tough economy, they moved into
the 78th Street Studios –specifically, into a space that once housed
American Greetings Creative Studios.
John, once a financial planner, turned to planning events, from live
music performances to gallery exhibits. Instead of investing money,
he was investing sweat equity in the renovation of the space, and the
programming therein. What began as three empty rooms is now one
open space full of activity.
They chose space in the 78th Street Studios in part due to its
proximity to Gordon Square Arts District. (eliminate this and
particularly its Theaters: Cleveland Public Theater, and Capitol
Cinemas.) Since moving there, the two have become active leaders,
and a primary force in the promotion and success of the 78th Street
Studios third Friday openings, which now draw hundreds of visitors
each month. While legation’s exhibits run the continuum from
traditional to conceptual, the Aurands say what is most important
is that the audience is comfortable. Creating an ambience of a very
open and relaxed space is key. An artist herself, Hilary is particularly
sensitive to difficulties artists can have approaching galleries for a
show. She found that Cleveland can be just as intimidating as larger
cities in this regard. She wants legation to help artists network with
the market and to provide greater opportunity for emerging and
established artists. Hence, the name.
In addition to being a resource to local artists, the gallery also gives
back to a community in Kenya, East Africa, with 10% of proceeds
from art sales donated by legation to the Victory Gospel Church.
John brings similar passion to the presentation of music. He likes
the intimate setting their 3,000 square feet can provide. Bands are a
part of the opening night events at Legation. The gallery and living
space also present occasional house concerts. The flexibility of the
relationship between the visual and musical components of legation
has also helped the Aurands book special events.
Jean Brandt is director of Brandt Gallery.
“Rotoflora” sculpture at the Morgana Run trailhead in Slavic Village.
Legation, A Gallery.
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By Jean Brandt
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PHOTO: HILARY ARNOLD
Location 1300 West 78th Street
Phone 216.650.4201
Web www.legationagallery.com
Email legation1300@gmail.com
Facebook legation, a gallery
MISSION
Our mission is to engage artists, designers and
musicians in a professional networking environment in
Cleveland’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 other
events such as business or networking meetings, fashion
shows and wedding ceremonies or receptions . A portion
of all donations and proceeds go to Victory Gospel
Church in Kenya, East Africa to benefit a mission for
orphans and widows . For more details or to set up a
show, please call Hilary Aurand at 216 .650 .4201or email
legation1300@gmail .com .
UPCOMING EVENTS
Derek Gelvin & Jim Leach, sculpture and installation
January 20 – February 25
Hilary Aurand & Dawn Tekler/ paintings and photography
March 16 – April 20
Dott Schneider “The Missing Piece”, interactive installation
April 20 – May 5
Jason Byer, new paintings
May 18 – June 2
Meghann Snow, new performance paintings
June 15 – July 7
Additional W . 78th Street Studios 3rd Fridays:
August 17
September 21
Sarah Curry & Hadley Conner, paintings & photography
October 19
November 16
December 21

mOrgAN ArT OF pApErmAkiNg CONSErvATOry
MORGAN CONSERVATORY OCCUPIES CLEVELAND
making paper by hand in midtown is the opposite of greed
If Occupy Wall Street’s goals are to challenge the paradigms of greed and self-involvement, then the Morgan Art
of 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, the
nonprofit organization is dedicated to handmade papermaking
and the arts that extend from paper such as printmaking and
book arts as well as hosting exhibitions celebrating these forms.
The Conservatory provides remarkable resources that introduce
the broader community to the unique and beautiful qualities of
handmade paper while providing artists with the facilities to explore
this form to a depth and degree few other institutions can match.
Adding to this commitment to the art of paper is a commitment to
green practices and community enrichment. The Morgan stands
as one of Cleveland’s truly important creative engines bringing the
aesthetics of the handmade paper to a reality of Urban renewal.
The Conservatory even maintains a small grove of “giving trees” in a
tenderly cared-for garden. The Kozo trees were planted from cuttings
brought from the University of Iowa the year after the organization
was founded. They thrive behind the former machine shop the
Morgan calls home. Beginning in 2006,the industrial building was
slowly transformed through the sweat equity of many local artists
Location 1754 East 47th Street, Cleveland, OH 44103
Phone 216.361.9255
Web www.morganconservatory.org
Email program@morganconservatory.org
Facebook Morgan Conservatory
GALLERY HOURS
Tuesday through Saturday, 10 a .m . – 4 p .m .
MISSION
The Morgan is a non-profit art center dedicated to the
preservation of hand papermaking paper arts and the
art of the book . The Morgan pursues its educational and
charitable purposes by serving the greater community
locally, nationally, and internationally with sustainable
practices in an innovative green environment .
A BRIEF HISTORY
Tom Balbo and many other local and national paper,
book and print artists and educators saw the need to
preserve these art forms as they were disappearing
from art schools and colleges . Beginning operations
in October, 2008 in a repurposed 15,000+ sf machine
shop the Morgan offers workshops in handmade
papermaking, paper and book arts, and offers 5 to 6
national/international exhibitions each year in its 1,540
expandable gallery space . Among those have been the
“”War as Art / Art As War Combat Paper exhibit, which
presented works made on paper created by soldiers from
and volunteers bringing Balbo’s remarkable vision to fruition, and
fulfilling the mission of the trust established by a gift from the late
Charles Morgan.
Every year running from May to September, the Morgan provides
workshops on a variety of paper and bookmaking topics. In
2011 these included sessions such as “Animated Pop-Ups,” Paper
Casting, “ Books on Brass Boards” and “Big Ass Papermaking.”
The Conservatory is also a destination for area school fieldtrips and
often provides instructors for in-school workshops. The Morgan has
facilities capable of producing paper made following Eastern and
Western practices. The organization itself exists as an inviting hub
of creative energy attracting people from diverse backgrounds to this
urban neighborhood.
Further extending this outreach will be the 2012 International
Association of Hand Papermakers and Paper Artists/Friends of
Dard Hunter Conference, running October 17 – 22, the event
will be hosted by the Morgan. The conference will bring an
estimated 300 to 350 paper artists from around the world to
their old uniforms; “Bad Boys, Magic Ladies, and Timeless
Masters” which featured contemporary American block
printers – at least one of which used a steamroller as a
tool for the transfer of ink; and the annual Abecedaria
show, organized by Artist Books Cleveland .
UPCOMING
CIA Steamroller Prints
Winter, 2011
John Adams/Clare Murray-Adams (Drawing/Mix Media/
Encaustic)
March, 2012
Rebecca Cross (Shibori on Handmade Paper)
May, 20112
Don Lisy (Drawing)/Qian Li (Drawing)
July, 2012
Snail Mail/Paper Trail (Art Auction – invited artists create
paper on Morgan Paper)
September, 2012
“Colossal, Vast, Enormous” and Members Exhibition
(Watermarks 2012 Conference exhibition)
Friends of Dard Hunter and International Association of
Hand Papermakers & Artists
October, 2012
By Lane Cooper
Cleveland. Founded in 1986 in Düren, Germany, the IAPMA is an
international organization and has been a leader in promoting paper
as an art medium. Partnering in the conference is The Friends of
Dard Hunter a group which is committed to education and social
connection in the field of papermaking and which promotes interest
in the Dard Hunter Collection which is housed in the Robert C.
Williams Paper Museum in Atalanta, GA. Nine Cleveland area
galleries will work with the Morgan to host supporting exhibitions
and workshops. The Dard Hunter/IAPMA Conference represents
a notable event for the Morgan firmly situating the Conservatory
within a growing international papermaking community.
Lane Cooper is assistant professor, head of the Painting program, and
Visiting Artist program coordinator at the Cleveland Institute of Art.
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PHOTO: MORGAN CONSERVATORY
OrANgE ArT CENTEr
NESTLED (AND GROWING) IN THE WOODS
orange art center makes a place for the arts in Pepper Pike
Nestled in a tranquil, wooded setting, the Orange Art Center is the center of creativity for Pepper Pike and the
surrounding areas . Making its home in a century-old house adjacent to the Cuyahoga County Library’s Orange
Branch, the Center offers a perfect environment for making art . Its outdoor environment sets the stage for its indoor
activity by offering a feeling of calm and contemplative thought .
The Orange Art Center traces its roots to 1968, when a group of
dedicated community members established the Orange Community
Arts Council as a way to promote cultural events in their
community. The next year, 800 people attended the first Barefoot in
the Parlor House Tour and Garden Fare. This confirmed the support
of cultural programs for the community, and by 1980 the council
provided the funds to establish the Orange Art Center. Throughout
its history, OAC has expanded with the addition of gallery space,
instructional space, and a state of the arts ceramic studio, thereby
doubling in size.
Today OAC thrives, offering extensive visual arts classes yearround
to adults, teens, and children. Additional programs include:
community partnerships, exhibits and events, and financial
assistance and programs to students in the Orange School District.
The Center’s dedicated staff of two, Executive Director, Deborah
Pinter and Executive Assistant, Gina DeSantis receives support in all
its programs from its impressive list of faculty.
Orange Art Center’s class listing can readily be found online. OAC’s
class offerings focus on painting, jewelry, ceramics, mixed media
and crafts. By no means, however, are these the only classes offered.
A visit to their website whets the appetite. Orange faculty include
well know professional artists who exhibit regularly throughout the
region and are also included in local collections. Four class sessions
are planned annually, encouraging participants to learn something
new or continue expanding in their area of interest. While the
OAC audience encompasses the greater Cleveland area and Eastern
Pennsylvania, its primary audience is local retired adults.
Director Deborah Pinter remarked during our interview “Orange
Art Center has a unique spirit of family. It has dedicated patrons
and supporters, some going back thirty years, who remain involved
with the organization. These patrons have given of their time by
volunteering or remaining active in classes. Through this long
standing connection of repeat customers, a wonderful commitment
to the OAC has been established.”
This family environment is evident through the other programs
offered by the center. Core to its mission, OAC is committed to
helping students further their artistic development, nurturing
artistic expression in all its participants, and delivering high quality
cultural entertainment to the community. For example, the Orange
Art Center mentors two to four high school seniors annually,
offering them the opportunity to complete their senior project at the
Center. Through this program, students can take as many classes
and workshops as they like during the month of May at no cost. The
$500 Orange Art Center/Charlene Power’s Award is awarded to an
Orange High School junior each year. Younger students in grades
K-5 can participate in after school classes, selecting from pottery,
drawing, and painting.
Through an ongoing partnership with New Directions, a treatment
facility for chemically dependent teens, the Orange Art Center
provides a nurturing environment whereby clients can experience
pottery classes once a week throughout the year.
Location 31500 Chagrin Boulevard
Pepper Pike
Phone 216.831.5130
Web www.orangeartcenter.org
Email dpinter@orangeartcenter.org,
gdesantis@orangeartcenter.org
Facebook Orange Art Center
OFFICE HOURS
Monday-Friday 9:30am-4:00pm
MISSION
The mission of the Orange Art Center is
to offer educational opportunities, which
encourage the practice and appreciation
of the fine arts among people living in the
Orange School district and surrounding
areas by: Operating classes for children
and adults that develop and nurture
artistic expression; Providing educational
and social programs, which inform and
entertain; Providing financial assistance
and programming in the Orange School
District; Sponsoring art exhibits and fine
art performances for the community;
and collaborating with other community
organizations .
The Orange Art Center has three exhibitions a year. The spring
faculty exhibition highlights the amazing accomplishments of
OAC’s very talented artists and teachers. Each June, for more
than 25 years, the annual Student Show has presented the work of
class participants and offers juried prizes. OAC’s annual Animals
in Art Exhibition, known by many in the local arts circles,
is a collaboration that supports artists, a local animal rescue
organization, and the Orange Art Center. This unique collaboration,
created by OAC’s director Deb Pinter, is an exhibition and art sale
that showcases 30-40 local artists. For one week the exhibition
spotlights works of art with an animal based theme. The OAC’s
director, a practicing artist herself, feels it is important the event
gives 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 the
Orange Art Center.
The Orange Art Center exceeds its goal of successfully encouraging
the practice and appreciation of the fine arts among people living in
the Orange School District by serving it community and the local
Cleveland area through quality programs. Their small and talented
staff continues moving the organization forward as they reach out to
the 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
Bookmaking at the Morgan.
Live figure painting.
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By Amy Craft
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PHOTO: ORANGE ART CENTER
A BRIEF HISTORY
The Orange Community Arts Council
(OCAC) was incorporated January 17,
1968 as a community group who visualized
creating a Summer Campus of the Arts for
the Orange Community . In March of 1969,
800 community members attended the
first Barefoot in the Parlor House Tour and
Garden Faire .
The OCAC worked on their goals in three
Phases, Phase I (1967-1970), Performing Arts,
Phase II (1970-1979), The Interim Periods of
Classes and Scholarship; and Phase III
(1979-currently), the Visual Arts/Art Center .
In 1980, OCAC established the Orange Art
Center in an 83-year-old house nestled in
the woods near the Cuyahoga County
Public Library-Orange Branch . Capital
campaigns over the years have more than
doubled the size of the original building
by enhancing the instructional spaces,
expanding exhibit areas and building a
state-of-the-art ceramics studio . Over
the years the purpose of the Orange Art
Center and the type of programming have
shifted its focus primarily to Phase III, the
Visual Arts component . With the continuing
support of the board, staff and community,
the Center has become one of the area’s
most prestigious community art centers in
its area .
UPCOMING EVENTS
Faculty Exhibition: March 16-30, 2012
Opening and Patron Party: March 16, 2012
from 6-9pm
Student Exhibition: June 4-June 8, 2012
Opening: June 3 from 3-5pm
Adult Classes and Workshops
Winter Session: January 15-March 9, 2012
Spring Session: April 2- May 25, 2012
Summer Session: June 25-August 3, 2012
Fall Session: September 10-November 16,
2012
Children’s Classes
Winter Session: January 23-March 9, 2012
Spring Session: April 8- May 25, 2012
Summer Camps: Weekly, June 11 – Aug . 17
Fall Session: October 1-November 16, 2012

ThE priNT CLUB OF CLEvELAND
INTIMATE CONTACT By Beth Whalley
the print club of cleveland helps members get in touch with fine art
As artmakers, gallerists and art enthusiasts, many of us are accustomed to seeing art hung on walls, with plenty
of 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 last
year at Tri-C’s Corporate College East .
The Fine Print Fair is by far the largest and most popular event
organized by the Print Club of Cleveland. Attended by college
students, seasoned collectors and everyone in between, it was
encouraging and interesting to see such diversity in the room.
Prints were literally everywhere – on the tables, hung on moveable
walls, in racks on the floor, and leaned up against the wall. The
sheer number of prints and the ability to handle the work breeds
a familiarity with and appreciation of the prints that just can’t be
achieved in a gallery setting. Walking around the fair, I saw people
discussing the prints and processes. The room had a buzz of energy
as members, attendees, students, dealers, friends and curators
expressed their shared love of the medium.
There is a definite intimacy involved in handling prints and, though
they were all matted to protect the image on the paper, the viewer
has a significant responsibility handling the work.
And with fourteen vendors from around the country, there was a
great diversity of artwork in the room as well. From 18th century
European to 19th century American to contemporary Mexican or
Japanese prints, the breadth of time and geography represented at the
fair made it really enjoyable to move from dealer to dealer. With just
as large a range in prices, this event makes art collecting accessible to
anyone who wants to start or build a collection of their own.
The Print Club of Cleveland is an established organization with 91
years behind it, only six years younger than The Cleveland Museum
of Art. In fact, the Print Club is an affiliate of CMA, and roughly
one-third (or 18,000 works!) of CMA’s print collection have been
gifts from the club and its members. The individual members
share a love of print collecting and an appreciation for the varied
printmaking processes. When considering the illustrious history of
this organization you might make the assumption that the group
is traditional rather than progressively eclectic, but you would be
completely mistaken.
Print Club President, Mary Kay DeGrandis very clearly loves
her position and is a fountain of knowledge about not only the
organization but the art of printmaking, the dealers at the fair, and
the art museum. Mary Kay first became involved in the group when
she attended a Fine Print Fair in 1988. She became a member in the
year 2000.
One of her favorite things about the club is its educational
programming. This educational pursuit was evident at the Fine Print
Fair, where Zygote Press and the Morgan Conservatory presented
printmaking and papermaking demonstrations in the atrium.
Lectures by CMA leaders were also scheduled for each day. One of
the lecturers, Dr. Jane Glaubinger, Curator of Prints at the Museum,
is very involved in the group. Indeed, one of the many benefits of
membership in this organization is having the opportunity to get to
know the diverse membership that includes artists, collectors, and
CMA leadership and staff. The group sponsors lectures throughout
the 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 endeavors
is to increase its junior membership and attract more members
in their 30s, 40s and under. Moving into the 21st century, the
club has a website, and Facebook page. They’ll continue to make
select educational programs open to the general public, allowing
nonmembers to participate, and perhaps to become members
themselves. The Print Club of Cleveland is very unique in that it’s
not defined by a physical space so much as it’s defined by the people
who belong to it. As long as young people keep discovering this great
organization and its active community, the club will continue its
history and still be around in 3016!
Beth Whalley is director of Proximity Gallery.
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Location 11150 East Blvd, Cleveland
Phone 216-707-2579
Web http://www.printclubcleveland.org/
Email printclub@clevelandart.org
Facebook The Print Club of Cleveland
MISSION
The Print Club of Cleveland’s purpose is to stimulate
interest in an appreciation of old and contemporary
prints, to augment (by purchases and gifts) the print
collection of The Cleveland Museum of Art and to
encourage private collecting of prints . The club
annually distributes to its members a print which has
been commissioned by the club .
A BRIEF HISTORY
The Print Club of Cleveland was founded in 1919 by
collectors of fine art prints and has continually been a
source for print collectors in the Western Reserve since its
inception . It is the oldest affiliate group of the Cleveland
Museum of Art . The Print Club has hosted the annual
Fine Print Fair since 1984 . The Fair invites 14 dealers from
across the country, hand-picked by Cleveland Museum
of Art curator of prints Jane Glaubinger . Each year a
different dealer is invited for the 3 day fair . The dealers
not only sell art but educate the fair visitor . Educational
activities including, talks by curators, museum directors
and print dealers continue throughout the weekend .
Printmakers and paper conservationists from zygote
Press, Morgan Conservatory, and the Intermuseum
Conservation Association offer demonstrations . Almost
1,000 people attend .
Other Print Club events include gallery talks at the
Cleveland Museum of Art, house tours of members’
homes to view their collections, special lectures by
curators, artists and printmakers and curator led trips to
various museums and private art collections throughout
the United States .
Preparations for celebration of the club’s 100th
anniversary are underway, including plans to partner
with various galleries and printmakers throughout
the city .
UPCOMING EVENTS
Fine Print Fair
September 28, 29 and 30, 2012
PHOTO: PRINT CLUB OF CLEVELAND
prOximiTy
CLEVELAND IS IN PROxIMITY By Robert Maschke, AIA
beth whalley and alex kelly provide great art in proximity gallery
With a vision to create a place where there is a level of comfortability amongst artists, patrons, and visitors when
they stop by, artists Beth Whalley and Alex Kelly look to welcome you to Proximity gallery, the front room of their
home 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’s
studio/residence, but of their personalities as well. Housed in the
newly renovated Loftworks Building—a pleasantly repurposed livework
warehouse building now home to residents and businesses—
Proximity Gallery occupies a first floor storefront facing East 40th
Street. It’s easily accessible, with surface and street parking to
accommodate. The space is deliberately raw and sparse, but sets up
well 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 the
Cleveland Institute of Art and looked to pursue an opportunity to
establish an art gallery. Poised to relocate from Cleveland to new
challenges and opportunities in Portland, Oregon, a serendipitous
opportunity to occupy their current gallery and home space kept
them from moving.
Proximity opened in July 2010. Whalley and Kelly wanted to create
a focus of emerging artists with the blending of more established
ones (such as Royden Watson and Michael Levy, both of whom
have exhibited during the inaugural year). The mix has quickly
established Proximity as a capable destination gallery.
Open to the public, Proximity shows four to five exhibitions per
year with art openings on Fridays from 6:00PM to 10:00PM
with regular hours Saturday and Sunday from Noon to 4:00PM
or by appointment while the shows are being presented. During
openings, beer and wine are provided within the gallery, and the
vibrant Cleveland food trucks mobilize out front to offer a variety
of dining choices.
The current schedule of 2012 exhibitions has not been finalized, but
is available at the gallery’s website. Cash, check and major credit
cards are accepted for payment.
Proximity emphasizes that there is not an established agenda for
the gallery, just a passion to display and sell high quality work
that Whalley and Kelly enjoy while expanding their reach. They
Location 1667 E 40th Street, Suite 1A, Cleveland
Phone 216.262.8903
Web www.proximitycleveland.com
Email info@proximitycleveland.com
Facebook Proximity Cleveland
GALLERY HOURS
Saturday & Sunday: 12-4pm (during exhibition dates)
Additional hours by appointment
A BRIEF HISTORY
Proximity opened in July 2010, launched by artists Alex
Kelly and Beth Whalley . In early 2010 they were looking
to find a new apartment and learned that the storefront
and adjacent living space in the Loftworks building
was available . After a few years toying with the idea of
opening an art gallery they decided that this was more
than mere coincidence, so they acquired the space
and started the gallery . Their most significant shows so far
have been solo exhibitions of two established Cleveland
artists: Mere Witness: Photographs by Michael Levy in
June 2011 and So – Recent Works by Royden Watson
in September 2011 . The gallery has shown a variety of
mediums: drawing, painting, photography, printmaking,
textiles, and sculpture .
plan to continue showing more established artists blended with
their consistent display of local, talented emerging artists. With
this approach, the gallery looks to become another established arts
anchor in the evolving St Clair/Superior neighborhood.
Robert Maschke, AIA is managing director of 1point618 and principal
of Robert Maschke Architects
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MISSION
Proximity is a “gallery without an agenda” that aims to
show significant works of art in all mediums by both upand-coming
and established artists .
UPCOMING SHOWS
2012 shows to be announced
check www .proximitycleveland .com in early 2012 for
a schedule .
Examining prints at the Fine Print Fair.
Proximity gallery.
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PHOTO: BETH WHALLEY

ED DOT prOjECT
PLAYING THE PART OF THEO By Peggy Spaeth
in the interior design marketplace, red dot project represents artists
One of the complexities of being an artist is that you have to do it all: make the art, photograph it, market it, and
try 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 other
consumer goods, the making and the selling are viewed as different
occupations, delegated and sub-delegated to paid professionals. But
individual artists rarely have this luxury. Few of them have brothers
like Theo Van Gogh, who promoted and sold Vincent’s work.
So there is a missing link between the artist and the consumer that
a gallery can fill, but because art is by nature a highly individualized
product, each gallery tends to carry specific genre or families of art.
In Northeast Ohio Red Dot Project has stepped in to fill the crucial
need to match art and consumers with a highly personal service.
Founded in 2005 by long-time art gallery owner and entrepreneur
Joan Perch, Red Dot Project was inspired by Pierogi Flat Files in
New York. The intent was to make original artwork available by
storing a wide variety of media in flat files, and eventually online.
Red Dot Project represents more than 100 Northeast Ohio artists
in a wide variety of media, reflecting its mission to create economic
opportunities for artists. Any artist may apply to be included in
the collection. Artists the Red Dot Project represents are selected
by a peer review process. Criteria for selection include the artist’s
command of the material, and the overall quality of the art.
Project Director Christy Gray—whose experience is both as an artist
and an interior designer—provides a link between the artist and the
client, typically a small or medium-sized business looking for art
because they are moving or renovating. The client does not pay a fee.
Like a commercial gallery, Red Dot earns a percentage of the sale
price of the art.
Even if art is viewed as a consumer product, selling it is unlike the
sale of commodities, or impulse products. Selling art is a process.
At RDP, the process begins when Gray meets with the client and
assesses their needs. Factors under consideration are individual taste,
space, and budget. Red Dot Project uses a searchable database that
makes the art selection process easier and faster. Because Gray is
familiar with a wide range of artists, sometimes she will suggest a
commissioned piece customized to the client.
In the summer of 2011, Red Dot Project provided the art for The
Cleveland Museum of Natural History’s Smart Home, a passive
energy model home. The selected art was based on the fundamentals
of sustainability. The pieces were made from natural or reclaimed
materials, created in a studio where environmental processes were
in place and/or reflected in content or theme views of our world and
environment.
Red Dot Project provides a very personal and crucial connection
between the creative community and clients in Northeast Ohio.
Peggy Spaeth is executive director of Heights Arts
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Location 1900 Superior Avenue, Suite 117, Cleveland
Phone 216.664.9600
Web http://updates.reddotproject.org/
Email Christy@reddotproject.org
Facebook Red Dot Project
Twitter REDDOTProject
MISSION
RED DOT Project puts the work of Northeast Ohio artists
together with clients who want to enliven their work and
home environments . As a non-profit organization, we do
more than just sell art . We build community relationships
and develop new markets for artists as entrepreneurs .
A BRIEF HISTORY
Founded in 2005 by artist, gallery owner and arts
entrepreneur Joan Perch, RED DOT Project maintains
artists work in flat files and digital images, rather than
space-intensive gallery displays . The flat and digital
files can be easily viewed by clients who wish to take
advantage of the region’s thriving creative class .
Previously, Perch was owner of ArtMetro Gallery, and
creator of the ARTcade—a collection of galleries that
brought life to the otherwise mostly vacant Colonial
Arcade in Downtown Cleveland . Christy Gray, now
project director of RED DOT Project, has been involved
with the organization since its inception . Gray’s textile art
can be found in private collections throughout Northeast
Ohio . Since its inception in 2005, RED DOT Project has
provided real sales opportunities for visual artists and
arts businesses totaling more than $500,000 .
PHOTO: KEITH BERR
rivEr gALLEry
A COMPELLING COMBINATION
river gallery has a passion for group shows
River Gallery is a white wall gallery, representing emerging and established artists from the Cleveland area . The
gallery is located on Old Detroit Road in Rocky River, a charming shopping area that was recently revitalized with
a streetscape make over . The pedestrian friendly neighborhood is packed with restaurants and galleries . River
Gallery and its neighbors Devout Home and Mitchell Sotka Ltd ., are the longstanding arts businesses in the Old
River Shopping area .
River Gallery’s current exhibit, Cleveland Craft Masters, features
the work of David and Roberta Williamson, Pamela Argentieri,
Matthew Hollern, William Brouillard, Judith Salomon and Brent
Young. It’s the kind of exhibit, collectors can expect from the gallery.
G. Ara Hamamjian, the gallery owner, is incredibly proud of the
current exhibit, “This exhibit is a compelling combination of artists
who have a long-time relationship with the gallery, plus two artists
new to River Gallery,” he says. “All of them have impressive local
reputations and all are nationally recognized.”
A real labor of love, it is obvious that Hamamjian and gallery
manager, Mark Yasenchack have a passion for curating group
exhibits and providing established and emerging local artists with
a finely tailored and professional presentation. “The relationships
I have made with artists have been inspiring and incredibly
rewarding.” Hamamjian adds.
By Mark Yasenchack
Founded in 1970 by his parents George and Sara Hamamjian,
Ara grew up surrounded by art. After graduating from Ohio State
University, Ara enrolled in the Picture Framing Academy in San
Francisco, honing his skills and developing a love for the craft. An
artist in his own right, Hamamjian dresses flyfishing flies. Both
functional and decorative, they are ornaments of hook, fur and
feather. He instructs fly-tying workshops at the Cleveland Museum
of Natural History. Developed from his love of flyfishing he is also a
guide on the Rocky River for other enthusiastic fly-fishers.
In 1994 Hamamjian purchased the gallery from his parents and
pursued a different course by focusing on independent studio artists,
as well as establishing collaborative relationships with professors and
alumni of the Cleveland Institute of Art, Kent State University, and
Baldwin-Wallace College.
The support and enthusiasm of River Gallery patrons is clearly
evident in the success of the annual Ceramics Invitational Exhibit
Location 19046 Old Detroit Road
Rocky River
Phone 440.331.8406
Web www.rivergalleryarts.com
Email rivergalleryarts@yahoo.com
Facebook River Gallery
GALLERY HOURS
11 a .m . to 6 p .m . Tuesday through Friday
11 a .m . to 5 p .m . Saturday
Closed Sunday and Monday
Or by appointment
MISSION
Exhibiting nationally recognized and emerging artists
from the Cleveland area .
A BRIEF HISTORY
River Gallery was founded in 1970 by George and Sara
Hamamjian, . Their son Ara, the gallery’s current owner,
therefore grew up surrounded by art . After graduating
from Ohio State University, Ara enrolled in the Picture
Framing Academy in San Francisco, honing his skills and
developing a love for the craft . An artist in his own right,
Hamamjian dresses flyfishing flies . Both functional and
decorative, they are ornaments of hook, fur and feather .
every April. Since 2005, this exhibit has grown to feature the work
of over 30 ceramicists. The 2012 exhibit will open Saturday April
28th, 2012.
The first exhibit of the 2012 season, will be the annual photography
exhibit. This will feature new works by Mark Inglis, Jessica Maloney,
Chad Gordon and Dan Morgan. These photographers have
developed unique and inventive methods of creating compelling
contemporary photography. This exhibit opens Saturday, February
4th, 2012.
Both Ara and Mark enjoy the discovery of exciting new work by
talented artists of the Cleveland area, and sharing that dynamic with
River Gallery patrons.
River Gallery seeks artists year-round.
Mark Yasenchack is gallery manager of River Gallery
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He instructs fly-tying workshops at the Cleveland Museum
of Natural History . Developed from his love of flyfishing he
is also a guide on the Rocky River for other enthusiastic
fly-fishers .
In 1994 Hamamjian purchased the gallery from his
parents and pursued a different course by focusing
on independent studio artists, as well as establishing
collaborative relationships with professors and alumni
of the Cleveland Institute of Art, Kent State University,
and Baldwin-Wallace College .
UPCOMING EXHIBITS
Mark Inglis, Jessica Maloney, Chad Gordon, Dan Morgan
Opening February 4, 2012
Animal-Themed Art Exhibit
Opening March 17, 2012
Interested artists, please contact the gallery
Annual Ceramics Invitational
Opening April 28, 2012
Interested artists, please contact the gallery
Susan Danko, Dissolution, Nordson Corporation installation.
River Gallery.
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PHOTO: MARK YASENCHACK

SCrEW FACTOry ArTiSTS
NOT SCREWING AROUND By Ross Lesko
lakewood industrial space has become a haven for artists
In recent years, an industrial space in the southeast corner of Lakewood has grown into a busy community of artists
and craftspeople who cooperatively coordinate open houses and sales . Gallerist Ross Lesko spoke with ceramic
artist and Screw Factory organizer Gina DeSantis .
Ross Lesko: The Screw Factory is an expansive complex. Can you
tell me how many artists currently have studios in the building?
Gina DeSantis: There are currently more than 30 artists, working
in a wide variety of media. But there are more studios being built to
accommodate 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 have
artists working in ceramic, wood, metal, glass and textiles. There are
also 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 event
or exhibition, and individual artists sometimes have open houses,
classes and demonstrations. But I think we’re best known for our
quarterly events. We have Open Studios during the first Saturday
of May and November. Artists open their studios to the public, and
visitors have a chance to meet and interact with the artists. I think
it gives visitors a context and a deeper appreciation for the artwork.
There is also the Cleveland Handmade Last Minute Market, which
is 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 with
Cleveland Handmade. It’s a combination of vendors and open
studios. The event is in its third year. The first year, three thousand
people attended—the second year, attendance grew to four thousand.
RL: What role does the Screw Factory play in the Cleveland
Arts scene?
GD: We have a diverse bunch of artists here, from recent college
graduates to artists who are retired from teaching. We have artists at
every 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, we
are in a suburban location. We appeal to art-minded shoppers who
wouldn’t necessarily go downtown, but still want to buy local art.
There is a comfort level here that people might not experience in a
gallery; it’s less intimidating. They can walk into a studio and see
how things are made. They can walk into a ceramic studio, see the
wheel and the kilns. They can meet the artists, see the process and
ask questions. There are kilns in this building that are large enough
to fit several people inside. Visitors enjoy seeing that. They get a
sense of the process rather than just the final result.
RL: Why would someone from out of state be interested in visiting
the Screw Factory?
GD: There’s an interesting history to this building. It was formerly
the Templar auto plant, and in that regard, something has always
been made here. I think an out of state visitor would be interested
in seeing how our industrial spaces are converted and repurposed.
I think that’s something Cleveland is known for; reusing these old
buildings, often using them for the arts. We also have such a diverse
group 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 in
the art and artists as well. I think that’s one of the things that make
Cleveland so great. There are so many people from so many different
backgrounds, cultures and histories. We have every walk of life
here—every demographic is represented. The affordability of studio
space and the existence of a place like the Screw Factory shows that
the Cleveland area supports the arts and artists and wants to keep
creative people here.
RL: By contrast, what would a local Clevelander get out of a visit to
the Screw Factory?
GD: Many of the artists who have studios at the screw factory have
artwork at various galleries or shops around town, but visitors to
those venues rarely get a chance to see the artists at work. At the
Screw Factory, visitors get to meet the artists in person, and see the
studios where the work is created.
It’s nice to touch base with customers and meet people who are
buying your artwork. That face to face relationship is really nice.
There’s a personal aspect where everyone who walks through the
door is going to meet a local artist and learn a little bit about their
story, it’s little more than just artwork—it’s an experience.
Ross Lesko is Gallery Director at Kenneth Paul Lesko Gallery.
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Location The Lake Erie Building,
13000 Athens Ave, Lakewood
Phone 216.521.0088 (Omni Management)
Website www.screwfactoryartists.com
Email screwfactoryartists@gmail.com
Facebook Screw Factory Artists (group page)
GALLERY HOURS
By appointment along with four open studio events
each year .
MISSION
The Screw Factory Artists is an artist-run collaborative that
organizes events and otherwise enables resident artists
to make, show, and sell their work . Quarterly Open Studio
events and annual sales attract thousands of visitors,
which enables Cleveland area artists to earn income
and recognition from their work .
A BRIEF HISTORY
Initially built as the Templar Auto Factory, the massive
industrial complex at 13000 Athens Avenue, in the
Southeast corner of Lakewood, was the longtime
manufacturing headquarters of the Lake Erie Screw
Corporation . After LESC moved its headquarters out
of the state, leaving the building largely empty, artists
began to move in . The Screw Factory is now home to
more than 30 working artists, producing works in glass,
ceramic, wood, fiber, and other materials .
UPCOMING SHOWS
Open Studios
10 a .m . – 6 p .m . Saturday, May 5th
10 a .m . – 6 p .m . Saturday, November 3rd
10 a .m . – 6 p .m . Saturday, December 15th (in conjunction
with the Cleveland Handmade Last Minute Market)
Visit our website for additional events .
PHOTO: MARTIN O’CONNOR
SCULpTUrE CENTEr
SITE SPECIFIC By Liz Maugans
the sculpture center carves out a space for the continual evolution of 3-d art
The busy Euclid corridor rattles with the excitement of new cultural propositions among the historic fixtures that
anchor 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 and
installation work. The organization is also unique in its ongoing
series of exhibitions focusing on sculpture by early career artists of
the region. These shows provide a window to the concerns of upand-coming
artists: the names of tomorrow.
Indeed, the centerpiece of the Center’s exhibition schedule is the
W2S (Window to Sculpture) Emerging Artist series. The series
annually presents six solo exhibitions by early career artists who
have Ohio roots. Four curated exhibitions and a thoughtfully juried
group exhibition round out a year’s offering.
Unlike venues that look retrospectively at artists’ past work, the
Sculpture Center usually exhibits works made specifically for the
venue. Because of this, the occasion of a Sculpture Center solo show
often provides a new direction for the artist. The galleries may one
season be filled with the metal sculptures of Richard Hunt that
have never been seen outside his studio, and the next season with
a startling array of mixed media pieces that are concerned with
the darker side of consumerism, environmental damage, genetic
engineering, and industrialization.
Executive director Ann Albano and her bright, involved staff
frequently guide visitors through the exhibitions and chime-in
about the interpretive levels of the sometimes challenging work on
view. Additional wall text and brochures are available and reveal
more insights. The artists speak informally at every opening and are
always impressed by the level of dialogue and connection people
have to their work.
The Sculpture Center advocates a philosophy of promoting fluid,
open-ended programming with other collaborators to allow the
greatest freedom of expression. For example, a series of concert
performances by the FiveOne Experimental Orchestra (a group of
sixteen composers and musicians with a ‘no-boundaries’ approach
to music) offers music composed in response to works on exhibit,
adding a new dimension to their visual output. Likewise, artists
with solo exhibitions in the Euclid Avenue Gallery are encouraged
to invite another artist to exhibit in an adjacent space (known as The
Platform), which enables the audience to make connections with the
artists interests and influences farther afield.
The boom of new construction in University Circle, and the
anticipated increase in tourism promise a great future for the
organization. To complement that growth, the Sculpture Center
is focused on expanding its presence in the region. They anticipate
more collaboration with the Cleveland Institute of Art, MOCA
Cleveland, and universities across Ohio.
Beyond its own exhibits, the Sculpture Center aims to educate the
public—and students, in particular—about art and sculpture in
general, and Ohio sculpture in particular. For example, ceramic
artist Elizabeth Emery facilitates 3D art making classes for after
school programs at elementary schools in the Cleveland Municipal
Schools District, Cleveland serving kids who otherwise have little
access to the arts.
Location 1834 East 123rd Street, Cleveland
Phone 216.229.6527
Web www.sculpturecenter.org
Email info@sculpturecenter.org
Facebook The Sculpture Center
HOURS
Wednesday through Friday: 10 a .m . to 4 p .m .
Saturday: noon to 4 p .m .
Other weekday times by appointment .
MISSION
The Sculpture Center is a not-for-profit arts institution dedicated to the
advancement of the careers of emerging Ohio sculptors, and to the
preservation of Ohio outdoor sculpture as a means to provide support
for artists and to effect the enrichment, education, enjoyment, and
visual enhancement of the Cleveland community and greater region .
HISTORY
The Cleveland artist David E . Davis and his wife Bernice Saperstein
Davis founded The Sculpture Center in 1989 . The two wanted to make
a meaningful contribution to the cultural life of Cleveland and to
help young Ohio sculptors stay in the state by giving support at the
difficult time in their careers when they were starting to make a name
for themselves . The Sculpture Center’s exhibitions now encompass
sculpture, installation, and multi-media work by artists of the greater
region of Ohio, contiguous states, and Ontario, Canada . The Sculpture
Center has conserved, restored, and maintained 36 outdoor public
The Sculpture Center’s website is another informative gem. Its
content is well designed, and constantly updated with rich material
about artist opportunities, event links, and on-line resources.
Key among its reference features is the Ohio Outdoor Sculpture
Initiative, an online registry of more than 1,000 sculptures around
the state. The OOSI inventories sculpture in the large urban
areas of Ohio with photos, as well as bibliographic details and
documentation of their condition. An ongoing partnership with
the CSU Michael Schwartz Library has made the database more
accessible. Future plans include posting OOSI information on
a Yahoo Flickr page to use crowd sourcing as a way to fill in the
blanks, update images, and encourage information exchange. This
WIKI-history will benefit scholars, teachers, librarians, and anyone
curious about their community. With its strong emphasis upon
preservation, OOSI supports the belief that public art adds to a
community and gives us all a level of pride.
The Sculpture Center is rare in its mission to showcase sculpture and
installation art, which are not the easiest art forms to make, ship,
install, exhibit, sell, and maintain. The organization continues to
celebrate new, innovative, renegade works by our region’s emerging
sculptors and installation artists while, at the same time, dedicating
themselves to the great monuments and landmarks that are symbols
of this town’s resilience and strength.
Liz Maugans is executive director of Zygote Press.
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sculptures in Cuyahoga County . It continues to offer the web-based
Ohio Outdoor Sculpture Inventory (OOSI) and occasional symposia
on preservation as a public resource .
COMING EVENTS
2012 W2S SERIES (Jan – May)
Linda Ding: New Work
Scott Stibich | Lauren Yeager: Familiar Machines
January 20 – February 18, 2012
Cozette Phillips: in-between
Elizabeth Emery: New Work
March 9 – April 6, 2012
Sarah Paul: Little Miss Cleveland & the Flaming Sunset
Lauren Herzak- Bauman: Passages
Sarah Ann Baker
April 27 – May 26, 2012
“Ambassador Lanes,” oil on canvas, by Screw Factory artist Martin O’Connor.
Euclid Avenue storefront.
page twenty eight : : : north east ohio collective arts network journal north east ohio collective arts network journal : : : page twenty nine
PHOTO: THE SCULPTURE CENTER
Summer Exhibition
June 8 – July 14
Johnny Coleman: Procession: Song of the Underground Railroad
September 8 – October 20
Mario Kujawski: A life in Art
November 2 – December 21

SpACES
IT’S ABOUT THE RIDE By Nancy Heaton
spaces takes artists and audiences on a journey
SPACES was conceived as an alternative to the Cleveland’s traditional galleries, a place where artists could exhibit
experimental work that might otherwise not be accessible .
Founded in Playhouse Square in 1978, and moving to the
Warehouse District in the 80s—at a time when the neighborhood
was largely vacant, and buildings were being demolished to make
parking lots, the gallery has always been a center of intriguing, even
aesthetically challenging activity for its neighborhood. SPACES
was known as the place in town to find the kind of art objects
that fell outside the limits of traditional galleries. Installation art
was a primary focus, complemented by exhibits of photographs,
sculptures, drawings and works in other traditional media, often
with a theme.
The venue moved across the river in 1990, when it bought a building
on Ohio City’s Superior Viaduct. The SPACES experience has
shifted in recent years, but it continues to transform lives and the
way people look at art.
Today, as the way we experience art globally and personally has
shifted, the making of art has become an interdisciplinary practice
which overlaps into a wide range of other areas. SPACES embraces
this expanding outlook by focusing on experiments which explore
new directions with ideas through various media and disciplines.
When you come to an opening, expect on- the-spot inventions
and collaborations, with hands on and eyes open. As the audience
you will be more engaged, the artist is given more freedom and the
possibilities become endless and unknown.
In other words, SPACES does not curate ART, but ARTISTS and
the creative experience of experimentation. Being unrestricted by
the traditional gallery structure allows artists a whole new range
of artistic expression, with support that is often unheard of in
traditional settings. There are still things on the gallery walls, but
now artists working at SPACES have complete freedom and support
to do more, to challenge themselves and the audience. The audience
becomes 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 and
development of ideas and objects through a supported exhibition
or project. These exhibitions and projects may be group, solo, or
collaborative endeavors.
The Vault—a converted, walk-in safe that came with the
building—functions as a digital media flat file: there audiences
can experience a variety of video and audio art. Work is added on
a rolling basis, and remains on view for approximately six months.
Viewers have the remote control in their hands to select the work
they would like to view.
SPACES World Artists Program (SWAP) is a residency initiative that
invites local, national and international artists to spend significant
periods of time in Cleveland neighborhoods to create experimental
work. 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 deliberate
break from traditional galleries, as long as the artist’s focus is
experimental and as long as it’s about pushing boundaries, there is
space 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.
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Location 2220 Superior Viaduct, Cleveland
Phone 216.621.2314
Web http://www.spacesgallery.org
Email Contact@spacesgallery.org
Facebook SPACES
GALLERY HOURS
Noon to 5 p .m . Tuesday through Sunday
Thursdays until 8 p .m .
Closed Monday
MISSION
SPACES is the resource and public forum for artists who
explore and experiment .
A BRIEF HISTORY
SPACES was founded in 1978 by a group of artists looking
to found “an interdisciplinary arena for the visual and
performing arts with an interest in creating and presenting
new art including individual and collaborative works .”
Since then, SPACES has gone on to feature the work of
over 9000 artists in varied formats .
UPCOMING EVENTS
Margaret Cogswell
Christi Birchfield
Marty Weishaar
February 3 – March 30, 2012
Cleveland Convention & Visitors Bureau
featuring the work of Cleveland SGS, the Cleveland
Urban Design Collaborative, Temporary Travel Office,
and The Think Tank That Has Yet to Be Named.
May 11 – July 13, 2012
Please check www .SPACESgallery .org for the most upto-date
information .
PHOTO: SPACES
WiLLiAm BUSTA gALLEry
MORE OF THE SAME By Alenka Banco
william busta gallery offers continuity for both artists and audiences
William Busta says the gallery that bears his name is more about Cleveland than it is about art . William Busta Gallery
is based on his conviction that art is one of the ways that we enter into dialogue with the past and in which we
contribute to the future .
The owner-operated gallery has called Cleveland home since it
first opened in Cleveland’s Murry Hill neighborhood, back in
1989. Having been located for a time in the Detroit Shoreway
neighborhood, it’s now on Prospect Avenue in Cleveland’s Art
Quarter. The gallery represents contemporary artists who live and
work in Northeast Ohio, with one-person exhibitions. Busta then
continues to represent each artist on an ongoing basis.
Busta jokes, “If I look backwards, I am going to guess that I put up
more works of art than anybody else…..except an elementary school
teacher.” He estimates that he has installed more than 250 shows.
Busta decided to open his first galley because he realized when
he was Director of NOVA (the New Organization for the Visual
Arts, a service organization for the visual arts) that there was a
significant void in Cleveland galleries—a need to show works by a
roster of individual artists with some frequency over time. It is that
consistency that is the strength of his gallery.
Busta believes this programming means the gallery is constantly
developing with the artist: when an artist is only focused on one
show, they gear up for that show and then take a sigh of relief. When
an artist closes a show and has their next show scheduled, they
bring a different attitude back to their studio. He believes that is
essential in the creation of better art and better bodies of work. This
relationship between artist and gallery gives an artist the time to
develop an audience and then provides the audience the place to find
the work on an ongoing basis.
The key to Bill’s success is his complete devotion to the process of
discovering the artist and of course the artists work. Busta says,
“When a publisher lands Danielle Steel, all that they can say is that
they have a deep pocket book. The real skill is in finding the next
Danielle Steel.”
He believes that the sense of discovery is in part what people
come to the gallery for. He quickly adds that the discovery for the
audience is only possible after the curator does his homework. The
internet has made the research process much easier, but Busta feels
that going to shows is an important part of the discovery.
Fundamentally for Busta it comes down to choices. All sorts of
reasons other than the work itself determine who he shows. He
considers the artist as a whole career, rather than just individual
things. “I curate the artist rather than individual pieces or individual
bodies of work,” he says. Salability is never an issue for a first show.
The beginning is always about the quality. Among the artists who
have had their first shows at WBG are Hildur Jonsson, Derik Hess
and Laurence Channing.
Busta admits that he does not know exactly why people buy art, but
he believes it deals with immortality. Art is a way that we speak. It
Location 2731 Prospect Ave., Cleveland
Phone 216.298-9071
Web www.williambustagallery.com
Email bustagallery@gmail.com
Facebook William Busta Gallery
GALLERY HOURS
11 a .m . to 5:30 p .m . Tuesday through Saturday
or by appointment
MISSION
William Busta Gallery represents contemporary artists
who live and work in Northeast Ohio . Mostly, the gallery
presents one-person exhibitions, and then continues to
represent the artist .
A BRIEF HISTORY
William Busta Gallery originally opened on Murray Hill in
Little Italy in January, 1989 . In all, it has operated in five
locations, including on Detroit Avenue and its current
location on Prospect .
is a form of immortality, to have a voice through time. So whether
it is the immortality of the person who is making a piece or possibly
the person buying it, many devote their lives to the expressive object.
The real audience for art is people who are engaged in the lives of
new ideas. He feels that it is directly related to the relationship they
build with the artist over time.
All the galleries in the regional scene create a kind of Cleveland
synergy. To have a gallery that shows specific artists’ work
consistently gives the greater Cleveland audience the foundation to
indelibly understand the art. Of all the exhibition places in greater
Cleveland, there is a very complementary function in which we see
the individual pieces, and in which people see the work in context.
Busta points out that in the end, having buyers is also a necessary
part of that synergy.
So what is in the horizon for WBG? “More of the same” Bill
continues. “My formulas and methodologies are down pat, and once
you are sixty you pretty much don’t need to change anything. You
are who you are.”
Alenka Banco is director of Convivium33 Gallery.
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
UPCOMING SHOWS
Michael Loderstedt, Menagerie
Dimensional: Printed Works by Current and Former
Students from Kent State
January 6 to February 4
Christi Birchfield
Julie Weitz
February 10 to March 10
Derf, My Friend Dahmer
March 2 to April 14
Spaces exterior, Big Bang opening.
Opening night, as seen from the sidewalk.
page thirty : : : north east ohio collective arts network journal north east ohio collective arts network journal : : : page thirty one
PHOTO: WILLIAM BUSTA GALLERY
Christian Wulffen
March 9 to April 14
NOADA Art Expo
(Northern Ohio Art Dealers Association)
April 19 to 22
Don Harvey
Lane Cooper
April 27 to June 2
Susan Umbenhour
Barbara Polster
June 8 to July 31

zygOTE prESS
PRESSED INTO ACTION By Karen Peterson
zygote press creates opportunity and takes it to the streets
In 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, co-
founder in 1995 and Managing Director since 2006 .
Liz and the other three co-founders formed Zygote at a time when
universities happened to be getting rid of their old presses. The
founders jumped on this great opportunity to not only preserve
historical presses, but also with an eye on sustainability, keeping
these large iron pieces of equipment out of landfills.
Zygote (a single cell that divides and multiplies) got its name from
twin facts: first, two of the organization’s founders are twins. And
second, printmakers by nature are drawn to the power of multiples
and multiplying creativity.
After ringing the doorbell, you enter the enchanted gallery and print
shop that Liz fondly refers to as a “weird runaway train” of worthy
programs and classes. There is a real fluidity of participants between
the programs offered at Zygote. Someone may start by participating
in a class or renting one of the (very) reasonably priced studio or
locker spaces, then they continue to grow and try other Zygote
offerings, becoming part of the fabric.
Print shops by nature have a dynamic atmosphere. Liz personifies
that, and has a true nature of getting other people excited about
Zygote. “I believe that energy comes with neighborhood growth and
development. I am a huge fan of Cleveland. I continue to explore
how the arts can be an economic engine to Cleveland and how I can
foster the unexpected spontaneous connections and creativities in
our region.”
The traditional presses and drawers (and drawers and drawers) of
page thirty two : : : north east ohio collective arts network journal
print-type are mixed with innovative and visionary concepts of
printing. Zygote is proud to have a portable press in their collection
that 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-making
find their way to Zygote. Empty nesters are also attracted since now
they have the time to revisit their former artistic love. But the staff at
Zygote have also provided programs to retirement age people, as well
as diversified their programs to younger kids. They have developed
a handy set of “Show-N-Tell Suitcases” equipped with tools of the
trade, archives of created works, technical information, curriculum
ideas 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 Arts
Network, 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 fabricated
from a toy rocking horse mounted to a pressure printing rocker: as a
child rocks on the horse, they create prints!
Zygote’s international flavor is provided by German artists involved
in 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 loft
space just above Zygote’s print shop.
Liz Maugans is a native of Lakewood, Ohio, and received her
Bachelors of Fine Arts from Kent State University. She received her
Masters of Fine Arts in Printmaking from Cranbrook Academy of
Art in Bloomfield Hills, Michigan. She continued to develop her
leadership skills as a participant in the highly desirable National Arts
Media and Culture Leadership Program in Portland sponsored by
The Warhol Foundation for the Visual Arts.
She and her collaborators have created multiple points of access to
Zygote: You can find them spreading the word about old school
printmaking at area festivals, visit an exhibition in their galleries,
take a class, or rent studio space. Come appreciate the history of
the building and rich tradition of the presses; stay for the fresh
friendliness, endorphin buzz, and the excited anticipation to see
what vision will come to life next.
Steve Jobs once said, “People with passion can change the world
for the better.” I asked Liz if she was interested in politics,
and she replied that many people have suggested she become a
Councilwoman. I would vote for her!
Karen Peterson is executive director of Art Therapy Studio.
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Location 1410 East 30th Street,
Cleveland
Phone 216.621.2900
Web www.zygotepress.com
Email info@zygotepress.com
Facebook Zygote Press
GALLERY HOURS
Wednesday and Saturday: noon-4pm
Other days: by appointment
MISSION
The mission of zygote is to enable
artists to produce fine art prints within
an atmosphere
of collective exchange by providing
them with affordable workspace and
exhibition opportunities . zygote is a
resource dedicated to increasing
awareness
about contemporary printmaking
by creating active communication
among
artist-printmakers and the broader
community .
A BRIEF HISTORY
Four printmakers—Liz Maugans, Joe
Sroka, Bellamy Printz, Kelly Novak—
founded zygote Press in 1996 . They
were motivated by a common need
among fine art printmakers—large
presses and other equipment, and
the space to house them . Those
facilities are commonly available in
university art departments, but once
printmakers are on their own, the cost
of such equipment and space can be
prohibitive . So they coordinated their
efforts and set up shop in a building
on St . Clair at East 72nd Street . zygote
Press moved to its current location in
2006 . zygote Press gallery shows are
commonly built on relationships with
other organizations, and ongoing
zygoge programs, including its Artist
In Residence (AIR) Program, In-Turn
(curated by interns from area arts
organizations), its Foreign Affairs artist
exchange with the Grafikwerkstatt in
Dresden, Germany, and 4U, which
features works from students and
faculty from four universities around
Northeast Ohio .
UPCOMING SHOWS
Zygote Members Collect
January 20 - February . 18
Fellow Travelers: Prints by Noel Reifel
and his students
February 24 - March 30th
100x100 Tax Relief Benefit Party
April 13
We Love Letterpress–Color My World
Exhibition
April 20–thru May 19th
ArtsQuarter Block Party Social
6-9pm June 1
Juried Exhibition
June 1–July 7
IN-TURN (Summer Show)
July 13–August 10
Artist-in-Residence Johnny Coleman
Opening September 7
Dresden Exchange Program - Ohio
Artists in Dresden
September 24th to October 27th
International Assoc. of Hand
Papermakers and Paper Artists
October 17-21
Holiday Off-the-Wall Exhibition
December 1 – 2
PHOTO: LIz MAUGANS
Screen 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 every
month); Arts in August; Tremont Arts & Cultural Festival (Sept 2012)
A CHRISTMAS STORY HOUSE
3159 West 11th St.
(216) 298-4919
APERTURE
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2242 Professor Ave.
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BRANDT GALLERY
1028 Kenilworth Ave.
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THE CLEVELAND AUCTION CO.
2418 Professor Ave.
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856 Jefferson Ave.
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ECLECTIC CLOSET BOUTIQUE
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761 Starkweather Ave.
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MASTROIANNI PHOTOGRAPHY
2688 West 14th St.
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PAUL DUDA GALLERY
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P.D. WHITE FURNITUREMAKER
767 Starkweather Ave.
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PICCADILLY’S FINE ART GALLERY
2253 Professor Ave.
(216) 344-1800
PINKY’S DAILY PLANNER
2403 Professor Ave.
(216) 402-2536
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2342 Professor Ave.
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RECYCLED BOWTIQUE
2687 West 14th St.
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thenestintremont.com
STEELYARD COMMONS
3447 Steelyard Drive
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VISIBLE VOICE BOOKS & MUSIC
1023 Kenilworth Ave.
(216) 961-0084
WINE & DESIGN
751 Starkweather Ave.
(216) 781-8000
2406 Professor Avenue Cleveland, OH 44113
(216) 575-0920 www.tremontwest.org
Ohio City is proud to support the
Collective Arts Network Journal
Thank you for highlighting
the region’s treasured arts
organizations
www.ohiocity.org
(Est. 1975) Serving Old Brooklyn &
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Programs and Services
Residential & Housing, Home Repair Assistance, Paint Refund Program
Home Weatherization Assistance Program
Home Energy Assistance Program (HEAP)
Home Rehabilitation, Code Enforcement, Crime Watch, Block Clubs
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Old Brooklyn News, Old Brooklyn Business Directory & Service Guide
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SOmeTHiNg’S HAppeNiNg Here
North coastal sangfroid notwithstanding, it’s
hard to deny that this is an exciting time to be
an artist in northern Ohio, and especially in
Cuyahoga County.
After decades of uneven growth in what is
sometimes referred to as the arts sector, activity is
finally reaching critical mass. Much of this must
be due to the $65 million in tobacco tax money
distributed to County arts organizations and
individuals since 2007. Cuyahoga Arts and Culture
(CAC) reportedly has generated a whopping $280
million in economic activity through the local
organizations it supports, and their five thousand
employees – all of this in a county whose population
is 1.28 million.
In 2011 alone, CAC working through the
Community Partnership for Arts and Culture (CPAC)
distributed twenty Creative Workforce Fellowships,
nourishing talent with that rarest and most welcome
of art supplies, cold hard cash, spreading around $400
grand in smoking money to area artists out of a total
annual disbursal of $15 million.
The somewhat unbelievable fact that Cuyahoga
County is now one of the top five arts funders in the
nation has got to be having a warming effect on local
morale, as well as hometown economics. Nearly every
weekend gallery openings are featured around the
city, from Collinwood to downtown, Tremont to Bay
Village. Popular cooperative events like the West 78th
Street Complex’s monthly Third Friday events attract
thousands of visitors.
At the upper end of the spectrum, The Cleveland
Museum of Art is nearing completion of its seven year,
$350 million renovation, and has further announced
plans to open a branch for the first time on the west
side in Ohio City in collaboration with nationally
prominent Akron art collectors Fred and Laura
Bidwell. Meanwhile the Museum of Contemporary
Art has broken ground for its own new $26.7 million
building in University Circle.
In this almost convulsively regenerative context,
the Collective Arts Network Journal project,
bringing together twenty-eight small and midsize
organizations, is one more instance of a cultural
By Douglas Max Utter
tide which, despite tough times here and elsewhere,
is raising a lot of boats. And granting that CAN’s
economic scale is more modest, surely this is the first
time that so many disparate Cleveland-based arts
businesses ranging from private galleries to print
workshops and community arts centers have worked
together. There is a sense that such proliferation and
cooperation taken as a whole add up to an exciting
new development in the region.
Change is in the air, but how different is the reality
of our corner of the art world compared to the state of
things twenty or thirty years ago? One way of putting
it all in perspective is to imagine the Cleveland art
scene minus the current CAN members, and without
the many others around town who aren’t part of its
network. Say that the Cleveland Museum of Art and
MOCA, for instance, were to stand alone – like the
Terminal Tower and one or another of Cuyahoga
County’s more up-to-date skyscrapers. What sort of
view would we have?
To answer that question, residents over fifty need
only remember what the scene was like for artists,
PHOTO: LAND STUDIO/CLEVELAND PUBLIC ART
DECADES OF INVENTION, REINVENTION, AND REVIVAL
collectors, and audiences in the late 1960s. Then as
now there were galleries, though far fewer of them,
run by people who believed in the power of art and in
the potential viability of a local art scene.
For a long time MOCA itself, founded as the New
Gallery by Marjorie Talalay and Nina Castelli Sundell
in 1968 in its original location on Euclid Avenue, was
a small, struggling outfit, though linked (through
Sundell’s father, gallerist Leo Castelli) to the larger
world of contemporary art as it existed in New York at
that period. And there was more, of course —actually
much more.
A partial account of the slow growth of SPACES
from its beginnings in 1978, and the development of
artist service networks like the New Organization for
the Visual Arts (NOVA) during the 1970s and 1980s,
plus ongoing contributions by a number of seemingly
indestructible gallery owners and arts activists, can be
found in William Busta’s 1998 essay, “Howling at the
Edge of the Renaissance: SPACES and Alternative Art
in Cleveland.”
Busta himself is a member of CAN, and an ironclad
survivor of Cleveland’s vicissitudes in his own right.
In 1980 he was the young executive director of
NOVA, and went on to open the first of his several
ambitious galleries in 1989. His essay celebrating
SPACES’ twentieth anniversary outlines the ebb and
flow of contemporary art through the city during
recent decades, naming many of the key players.
Among the highlights were the Performance Art
Festival, founded by James Levin and run by Thomas
Mulready; the founding of Cleveland Public Art
following a conversation at SPACES in 1984 between
Don Harvey and Kathy Coakley; and the freeform
exhibitions of the extraordinary Art Without Walls
group during the early 1990s. Among its other virtues
this brief history serves as a bracing reminder of just
how severe our collective amnesia can be. A whole lot
did indeed happen in the arts in Cleveland between
the Kennedy administration and 9/11.
Busta doesn’t shrink from the fact that the
automobile had a lot to do with the development
of the broad socio-economic area now referred to
as Northeast Ohio, and the concomitant increase
of communication between widely separated arts
communities – a cultural expansion that began in
earnest around 1961. That was the year, not long
after the completion of the Ohio Turnpike, that
Cleveland Museum of Art Director Sherman Lee
expanded the geographic area for the Museum’s
annual May Show. Instead of limiting eligibility to
artists living in Cuyahoga County, the prestigious
exhibit would accept works
from anywhere in the
Western Reserve – a strip
of territory about 120 miles
long that includes Akron,
Kent, and Youngstown.
During the 1970s Ohio’s
Interstate Highway System
neared completion, pulling
these places ever closer
together. For good or ill the
impact was felt everywhere,
and especially at the May
Show. It’s probably fair
to say that among the
two hundred or so artists
included every year in the
exhibit, a disproportionate
number continued to travel
no farther than the half a
block distance across Wade
Park Oval, where instructors
at the Cleveland Institute
of Art made their art. But
CIA wasn’t the only art
school anymore. Kent State
University’s art department
became a major player
in the region, supplying
inspiration, art, and board
members to the fledgling
SPACES organization in
Image by Sara E. Darby.
particular. When Cleveland
State University hired its
own young faculty in the
early 1970s, was a deliberately unstable hybrid, part
late 1970s the city began to develop a whole new performance, part intervention, packed full of ideas
community of serious younger artists, bolstered also about time and change, and perhaps about revolution.
by the then vibrant Cooper School of Art.
In any case, less than five months later the infamous
Many of these new artists were interested in
Kent State shootings took place, and shortly afterward
exploring 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 Ohio
creating a makeshift memorial that lasted for more
microcosm. 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 sculpture
to underline how many connections there have been
students in January of 1970 on the KSU campus. between the Cleveland area art scene and artistic
The thirty-two year old pioneer of post-minimalist developments elsewhere, and also because as I re-read
environmental sculpture (who died three years later “Howling at the Edge of the Renaissance” I was struck
in a plane crash) had been invited by the students by the prominent part that very innovative alternative
to 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 always
page thirty four : : : north east ohio collective arts network journal north east ohio collective arts network journal : : : page thirty five
PHOTO: SARA E . DARBY

shrinking, often conservative city, Cleveland has
produced formidable number of avant-garde events
and venues. This has been so even though both CMA
and CIA long ignored such innovation; and despite its
origins in the ferment of the 1960s , The New Gallery
/ Cleveland Center for Contemportary Art / MOCA
was also slow to host
improvisational or
performance-related
works. But from the
beginning SPACES
made performance,
installation, and
conceptual art forms
an integral part of its programming, alongside
traditional two and three dimensional media.
Cleveland Public Theater was another crucial source
of inspiration for artists seeking to expand their
expressive range into a theatrical, public dimension.
A further, interestingly populist tendency that also
represented its own broad constituency among local
Classes for kids at Art House.
page thirty six : : : north east ohio collective arts network journal
artists has been the two decade run of The People’s
Art Show at Cleveland State University’s gallery.
Resolutely unjuried and committed to freedom of
exhibition, PAS was from the beginning a progressiveregressive
public event that defied all categories and
often left local pundits scratching their heads.
At this point it should be noted that CMA’s
conservatism wasn’t always a bad thing. It’s
unfortunate that younger artists can no longer
remember what the Museum did accomplish in
respect to the local scene prior to 1990, because in fact
it was long the backbone of Cleveland’s art economy,
crucial to its self-image for seventy years.
Mainly that was due to CMA’s
yearly May Show, which was the most
distinguished of Ohio’s several spring
time museum exhibits (Cincinnati,
Columbus, Toledo, and Dayton all
had their own, plus Canton’s All
Ohio Show and the Butler Museum’s
National Midyear Exhibition in
Youngstown). Every year it took up a
quarter of the Museum’s exhibition
schedule, and a corresponding
percentage of the budget for traveling
exhibitions. It was an elegant and
respectfully presented selection of as
many as three hundred works of art
by around half that number of artists
selected from a pool of as many as
1000 by a variety of distinguished
jurors, often recruited from around the
nation. The jurors tended to consult
with museum staff familiar with the
ins and outs of the local scene, and
the result was a comprehensive salon
which audiences and collectors used
to keep track of both up-and-coming
artists and established figures, serving
as a professional benchmark, and as a
key marketplace in its own right for
the sale of contemporary art.
Startling—at least to those used
PHOTO: ART HOUSE
to the modest attendance figures typical for fine arts
events, including non-blockbuster museum shows—
were the sheer numbers attracted to this old-fashioned
exhibition: in the 1980s the May Show’s yearly
attendance regularly reached 100,000 visitors. That’s
hard to beat, and in fact nothing has come close to
"Political climates change, funding ebbs and wanes, galleries die, and
newspapers run out of ink and subscribers, but artists continue their work ."
filling the hole left in the Cleveland art scene’s heart by
the exhibit’s cancellation in the early1990s. It would
be interesting indeed to see just what would happen
in northern Ohio’s newly vigorous scene if CMA put
out an open, thirteen county-wide call for entries,
perhaps in the spring of 2013, to celebrate architect
Raphael Viñoly’s expansion. Such an event would
certainly break the ice with both the arts community
and wider audiences after a long seven years, during
which time much of CMA’s magnificent collection was
unavailable.
For some of this article I’m drawing on knowledge
gained as a writer who covered local arts events
for more than twenty years, and also on my own
experience as an occasional participant situated
somewhere off-center in respect to the city’s art life.
I was twenty-two in 1973, when I submitted an oil
on canvas study of a Braque-like nude male figure
to a show mounted at NOVA’s little upstairs gallery
located at Huron and Prospect Avenues. The work
was accepted, hung around for a month, and then
I fetched it – an anti-climactic routine I would get
used to in later years. I made a second foray in 1982,
entering a Matisse-influenced, brightly colored
acrylic painting of figures in an interior to another
second-tier exhibit held in downtown Cleveland. “The
Great Lakes Art Exhibit” was organized from time
to time by the Valley Arts Center and in 1982 was
arrayed around an enormous sales floor in the former
Higbee’s department store on Public Square. Not too
surprisingly, nothing much came of that experience,
either.
My efforts will sound familiar to any artist in
Cleveland who has worked at it for more than a
decade 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 the
Letterpress printing at the Morgan.
latest canvases out of my basement studio and took
slides of them in our thawing back yard, in what my
partner laughingly called my “May Show dance.”
Then in 1986 a work was finally accepted; things
began to look up. I rented a studio downtown in
the Artcraft building on Superior Avenue, was one
third of a three person show (which included Anna
Arnold and Brian Azzarello) at SPACES in its Bradley
Building incarnation in January 1988, and in 1989
had my first solo show at Bill Busta’s new gallery on
Murray Hill Road. This followed a 1988 one-person
at Joyce Porcelli Gallery, Busta’s predecessor in the
same space. It also took place in the wake of a 1987
solo show at Tommy’s restaurant on Coventry, which
was a lot of fun. And by 1989 I had begun to write
occasional art critiques for Dialogue Magazine in
Columbus and New Art Examiner in Chicago. I was
pleased to show several more times during those years
both at the May Show (which finally ended in 1993)
and at Busta’s until his closing at that location in
1997. Both Dialogue and New Art Examiner also went
extinct, but I continued writing for other publications
based in Cleveland and out of town, and showing
at other area galleries, like the late, lamented Dead
Horse Gallery in Lakewood. One of my favorite
highlights of the past ten years was a 2004 residency
and show at Zygote Press as their 2004 A.I.R. artist.
And I’m especially proud to have received one of those
CAC Fellowships myself this past year.
If I’ve learned anything from the ongoing saga of
death and resurrection that is Cleveland and its art,
it would be a series of lessons about the necessity of
optimism. Political climates change, funding ebbs
and wanes, galleries die and newspapers run out of
ink and subscribers, but artists continue their work
and, remarkably, often multiply – despite surrounding
conditions. Having said that, I believe strongly that
current conditions are right for a true renaissance (or
the completion of a century-long, first-time birth) in
northern Ohio. The “howling” phase of Cleveland art
may finally be over.
Douglas Max Utter is an artist and freelance art critic in
East Cleveland.
PHOTO: MORGAN CONSERVATORY

WELCOmE
continued from page 4
punch of the devastated economy and the decline of print media.
So all those working artists simply don’t get as much coverage as
they once did. Consider what the NEO arts scene has lost just in
roughly the last decade: Dialog Arts Midwest, Northern Ohio Live,
Angle, ARTefakt, Urban Dialect, The Free Times, and Avenues—all
of which dug deep into the local arts scene—are gone. For a while,
all those existed in addition to what we have now. Shows and
performances—even in small galleries—got covered. Previews were
written. Personalities were explored.
Consider that the Plain Dealer once led public discussion about the
Arts and the Economy, with a daily arts section, including reviews
and features as well as real arts news reporting. Indeed, for a time
a reporter was dedicated to covering the Arts and the Economy.
The editors seemed to agree with the voters in their conviction that
Cleveland’s own ecosystem of artists and galleries mattered.
It’s not like that anymore. Sure, digital media has had a
democratizing effect, and if you consider all the individual artists’
blogs, tweets, and Facebook posts,there are certainly many, many
more outlets now than ever before. And people are certainly learning
to use those methods to promote themselves. But they lack critical
mass. Individual artists typically focus their blogs and social media
on their own work, or that of a small circle of friends. They don’t exist
in the physical world. Therefore they don’t develop broad audiences.
People don’t stumble upon them. They can’t cross pollinate.
And that brings us to CAN Journal. What you’re holding in your
hands is the product of collective, not-for-profit, bootstrap self help.
The arts organizations once served so well by all that media have
banded together to do something about what they’ve lost. Led by
Zygote Press, 28 of the region’s small-ish visual arts organizations
got together to help spread their own word about who they are and
what they do—in short, to collectively shout, “We are here!”
With seed money provided by a grant from the Ohio Arts Council,
they each kicked in their own contributions to the cause. Indeed,
they kicked in more than money. As you read through these stories,
you’ll see that most of the bylines are those of the executive directors
of the organizations. More than simply throwing money at the
problem, they invested their time to conduct an interview, and to
write about another organization’s work. In addition to stories,
they’ve provided preview listings of what’s to come in their venues
for the coming year.
There are non-profit galleries, as well as commercial galleries.
There are organizations whose purpose is to show art, as well as
organizations whose purpose is to help artists. This is by no means
an exhaustive list. But it’s a pretty good start.
“we are here! we are here! we are here! we are here!”
page thirty eight : : : north east ohio collective arts network journal
CAN Journal was built as an annual publication that introduces
readers to the diverse range of galleries and other organizations that
fuel the NEO arts scene. As it grows in coming years, the stories will
evolve. How that happens will depend largely on the organizations
who have pitched in to make this happen.
We expect the roster of organizations to grow and evolve. Whether
you’re reading this as an arts consumer, presenter, or an individual
artist, we hope you’ll grow along with us, and make your voice
heard, too.
6
23
THe NOrTH eAST OHiO cOllecTive ArTS NeTWOrK
9
CAN Journal Map Key
1. 1point618 Gallery
6421 Detroit Avenue, Cleveland
2. Arts Collinwood
15605 Waterloo Road, Cleveland
3. Art House
3119 Denison Avenue, Cleveland
4. ArtSpace Cleveland
1400 East 30th Street, Cleveland
5. Art Therapy Studios
12200 Fairhill Road, Cleveland
6. Bay Arts
28795 Lake Road, Bay Village
7. Brandt Gallery
1028 Kenilworth Avenue, Cleveland
8. City Artists at Work
2218 Superior Avenue, Cleveland
9. Cleveland Artists Foundation
17801 Detroit Avenue, Lakewood
10. Cleveland Arts Prize
P .O . Box 21126 , Cleveland
24
14,15,17
1
12
4
8 28
21
22 18
26 27
16 7
3
11. Cleveland Institute of Art Visiting Artist Program
11141 East Boulevard, Cleveland
12. Convivium33
1433 East 33rd Street, Cleveland
13. Heights Arts
2173 Lee Road, Cleveland Heights
14. Kenneth Paul Lesko
1305 W 80th Street, Cleveland
15. Kokoon Arts Gallery
1305 West 80th Street, Cleveland
16. LAND Studio / Cleveland Public Art
1939 West 25th Street, Suite 200, Cleveland
17. Legation, A Gallery
1300 D West 78th Street, Cleveland
18. Morgan Art of Papermaking Conservatory
1754 E . 47th Street, Cleveland
19. Orange Art Center
31500 Chagrin Boulevard, Cleveland
20. The Print Club of Cleveland
11150 East Boulevard, Cleveland
11 25
20
5
2
13
21. Proximity
1667 E . 40th Street, Cleveland
22. Red Dot Project
1900 Superior Avenue, Suite 117, Cleveland
23. River Gallery
19046 Old Detroit Rd, Rocky River
24. Screw Factory Artists
13000 Athens Avenue, Lakewood
25. Sculpture Center
1834 East 123rd Street, Cleveland
26. SPACES
2220 Superior Viaduct, Cleveland
27. William Busta Gallery
2731 Prospect Avenue East, Cleveland
28. Zygote Press
1410 East 30 th Street, Cleveland
19
north east ohio collective arts network journal : : : page thirty nine

Saturday, September 15th, 2012
Art Galleries & Artist Studios | Historical Walking
Tours | Free S idewalk Concerts | Festivals | & More
For more information, log onto
downtowncleveland.com/sparxcityhop
.
11:00am-9:00pm
Zygote Press
Artist Space Share
LAUNCH
February 2012
quarterartsdistrict.com
FEB
2012
ABOUT ZPASS
A Residency-Retreat-Community space, ZPASS launches in
February! Just upstairs from the shop, in a 1,500 square foot
space, we’ve created an exciting new residence and
multifunctioning artist-studio space.
ZPASS has four components:
» It will be home to a new Zygote Residency program, as well
as host our ongoing annual Dresden Residency Exchanges
» Provide a space for Artist Retreats for residence and print
shop access
» Be a shared arts community space and studio (providing
other visual arts organizations with an intercity, long or short
term stay residence option)
» Allow Zygote to restructure its current Intern/Apprenticeship
program as this new space develops
ZPASS
Z y g o t e P r e s s
1410 East 30th Street
Cleveland, Ohio 44114
216 . 6 2 1.2 9 0 0
zygotepress.com
Visit the
Quarter …
the heart and
soul of
Cleveland’s art
community.
We’re bringing
industrial
buildings back
to life.
We’re setting a
bold new
direction for
Cleveland’s
contemporary
art scene.
We’re building
a community
of dreamers
and innovators.
And we hope
you’ll join us.