CAC Epicenter Fall/Winter 2018

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C O N T E M P O R A R Y A R T S C E N T E R M AG A Z I N E • FA L L / W I N T E R 2 0 1 8

FOTOFOCUS BIENNIAL 2018 ARCHIVING AS ART TEJU COLE & VIJAY IYER

POV Mary Ellen Goeke & Thomas R. Schiff Now in its fourth iteration, the 2018 FotoFocus Biennial: Open Archive spans over 90 projects at museums, galleries, and universities across Greater Cincinnati, Northern Kentucky, Dayton and Columbus, Ohio. The Biennial features more than 400 artists, curators, and educators. The Open Archive theme emphasizes the centrality of photography and lens-based art to modernism, and examines our fundamental need to preserve photographs and to tell stories through their collection, organization and interpretation.

FotoFocus is an organization, a biennial and the champion of lens-based arts established in 2010 by Thomas R. Schiff, an artist, photographer, businessman and lifelong patron of the medium. Mary Ellen Goeke is Executive Director of FotoFocus, marrying her past work in galleries and museums with ongoing advocacy for photography and institutional collaboration. Together they have cultivated a vibrant entity that gathers an ever-growing number of artists, curators, critics, collectors and audiences to celebrate the history, chart the present and imagine the future of photography.

Inspired by a love of photography and a vision of collaboration among the area visual arts organizations, the first FotoFocus Biennial was launched in 2012. In terms of staffing and bricks-and-mortar, it continues to have a small footprint—centered in an office in OTR—but in terms of its imprint on programming and the curatorial life of the city, it has grown considerably. It gives us great pleasure that this year’s Biennial will include over 90 exhibitions and programs many of which will be free and accessible to everyone in the Greater Cincinnati region.

Throughout its short history—and in particular this year— no other organization has opened their doors wider to FotoFocus than the Contemporary Arts Center. Since the founding of FotoFocus, we have teamed-up on no less than ten projects; from Andy Warhol’s polaroids, to JR’s mobile photo booth, to the inventive cameras and images of Taiyo Onorato and Nico Krebs, to New Slideshow and Roe Ethridge. The Guardian in London wrote of the importance of the Mapplethorpe Symposium at the 25th anniversary of The Perfect Moment; and within its film screenings and list of lens-based exhibitions and programs, the CAC has presented some of the most significant FotoFocus projects to date. Just as it has for decades, the imprimatur of the CAC as host for an artist’s work has been important in bringing compelling artists to Cincinnati under the FotoFocus funding umbrella.

Early in FotoFocus history in 2012, Raphaela Platow, CAC Director, and James Crump, Curator of Photography at the Cincinnati Art Museum co-chaired the first FotoFocus.

Through its loose and organic beginnings, Raphaela and James oversaw curatorial projects showing Warhol, Herb Ritts and Doug & Mike Starns. This October, FotoFocus and the Contemporary Arts Center have combined forces to present three exhibitions and several lens-based performances, curated by four Curators who are illuminating the theme Open Archive. CAC Curators, Drew Klein and Steven Matijcio and FotoFocus Curators, Kevin Moore and Ulrike Meyer Stump will fill the CAC and Memorial Hall with works by Karl Blossfeldt, Francis Bruguière, Thomas Ruff, Mamma Andersson, Akram Zaatari, Teju Cole and Vijay Iyer.

We are thrilled that, in September, we will see Valentine Umansky begin her three-year Curatorial Fellowship at the CAC, funded by FotoFocus and Tom Schiff. Valentine brings her international experience to a talented CAC team and will be working on lens-based exhibitions with an eye toward the FotoFocus Biennial’s ten-year anniversary in 2020. For both the CAC and FotoFocus we are certain that a decade of this very special partnership will manifest in bold and brilliant projects for future audiences.

Image: Installation view of Roe Ethridge at Contemporary Arts Center for 2016 FotoFocus Bennial: The Undocument © Tony Walsh

CURATORIAL FELLOW SPOTLIGHT

What is it about lens-based work that has drawn you so consistently to working within that space throughout your curatorial career?

TOWARD COLLABORATION

The history of my family, on my father’s side, has been difficult to trace. It has been somewhat erased from history, which is a fairly typical eastern European Jewish thing (my grandfather was born in Ukraine and emigrated to Germany, where most of my family disappeared.) Since then, I have been obsessed with keeping records and evidence of the past. It started with my family and now includes all sorts of photographic records. It probably explains parts of my interest in photography and the reason why I collect vintage vernacular photographs of family portraits (I constantly have about four or five old prints in my wallets, on any given day.)

This fall the CAC welcomes an exciting new addition to our curatorial staff. From a pool of candidates spanning the globe, Valentine Umansky was selected for a FotoFocussponsored three-year curatorial fellowship focusing on lens-based art practices.

As an independent curator, author and critic, Valentine has worked for various institutions dedicated to visual arts. After collaborating with the Rencontres d’Arles festival for several years, she left France for the U.S., where she has been based since 2015. That same year, she published her first book, Duane Michals Storyteller with Filigranes.

Since then, she acted as a Curatorial Intern in the Photography Department of MoMA and at the International Center of Photography; wrote about housing disparities, vision and justice for Aperture, and translated a collection of essays and poems by Roger Caillois, published in English under the title

How will the curatorial work you’ve done thus far factor into what you’ll be doing as a Curatorial Fellow at the Contemporary Arts Center?

Over the last five years, I have spent a considerable amount of time in the Midwest, getting familiar with and later collaborating with artists and curators in both Michigan and Illinois. At the Contemporary Arts Center, I hope to develop new ties between these states and Ohio, as all three share a somewhat similar history, creating projects between Chicago, Detroit and Cincinnati. These three cities function as the breeding ground for some of the most creative artists I have met and I look forward to being a harbinger of new collaborations and co-productions.

Stones, for DittoDitto Editions and Flint Magazine in Detroit. She is also currently working on a second book dedicated to the use of vocal practices in contemporary African-American Art. In 2018, she was invited to curate an exhibition of Brian Griffin at Labanque in France, and coordinated the publication of SPUD, its coinciding catalogue with GOST (U.K.) and Filigranes. She is also one of four women curators, chosen to spearhead the 2018 LagosPhoto Festival in Nigeria and is the Artistic Director of the Taurus Prize for Visual Arts in Switzerland.

“It’s important for curators to relinquish their power of speech and learn how to listen.”

You have worked in cities such as New York, London and Paris, as well as Lagos, Graz, Detroit and soon Cincinnati. What differences have you noticed between these so-called centers and margins of the art world, and what draws you to working in locations that aren’t typically known as arts centers?

I like tight knit communities. The art world is one, photography is a smaller one, where I feel more comfortable. Cities are the same. Places that are not considered as art hubs tend to answer to more practical concerns for artists and people living in them: they allow for artists to live and create, with time; to have affordable, large studio spaces; to actually meet artists and curators as they walk around town, instead of having to gather in packs at openings in the hope of talking to the people they want to collaborate with or learn from. Practical aspects of living are real.

They are what artists talk about, more often than they discuss the content of their works. And these things matter to me a lot.

Is three years enough time to develop an unabiding love for Cincinnati-style chili? Kidding! (kind of) That is, what do you think you can learn about a city in three year’s time, and what do you hope to explore through the fellowship?

A few people have already suggested that the love I will develop will be for Cincinnatians, but hey, let’s not dismiss the Chili too fast! My hope is that three years will be enough to understand, at least partially, the reality of current and former Cincinnatians. I remember a fellow fellow, Jova Lynne (the current Ford Curatorial Fellow at MOCAD in Detroit) saying that she remains aware that she is not “from here” and that it explains why, at times, people will not want to trust her. I try to sometimes remain quiet and observe. It’s important for curators to relinquish their power of speech and learn how to listen. Especially when brought into a context, in which they do not belong by any right of ancestry of birth. That is how I will approach Cincinnati I suppose.

KARL BLOSSFELDT, FRANCIS BRUGUIÈRE, THOMAS RUFF No Two Alike

SEP 21, 2018 – JAN 13, 2019 No Two Alike: Karl Blossfeldt, Francis Bruguière, Thomas Ruff restages the 1929 exhibition of plant photographs by the German sculptor Karl Blossfeldt (1865–1932) and photographs of cut-paper abstractions and multiple exposures by the American photographer, then living in London, Francis Bruguière (1879–1945). No Two Alike reunites these two important modernist photographers for the first time since the legendary exhibition and juxtaposes their work with the Photograms and Negatives series by the German contemporary artist, Thomas Ruff (b.

1958), whose interest in and reaction to the history of photography has formed the background for many of his series. The encounter of these three artists makes the similarities and subtle differences within their own bodies of work visible, but it also presents each of the three artists’ oeuvre as a variation of the other.

No Two Alike: Karl Blossfeldt, Francis Bruguiére, Thomas Ruff is curated by Ulrike Meyer Stump, FotoFocus Guest Curator and Independent Curator and Lecturer, Zurich University of the Arts, organized in collaboration with the Ann and Jürgen Wilde Foundation, Pinakothek der Moderne, Munich, and is presented in partnership with FotoFocus Biennial 2018.

Below: Karl Blossfeldt, Adiantum pedatum. Maidenhair fern, before 1926. Courtesy of Karl Blossfeldt Archiv / Stiftung Ann und Jürgen Wilde, Pinakothek der Moderne, München Right: Mamma Andersson, Saturday, 2017, Image courtesy of the Artist and David Zwirner Gallery

MAMMA ANDERSSON Memory Banks OCT 5, 2018 – FEB 10, 2019

Painters often draw from existing visual materials, such as photographs and reproductions of past works of art, to inspire and construct their work. Swedish artist Mamma Andersson (b. 1962)—known for her dreamlike, faintly narrative compositions inspired by Nordic painting, folk art, newspaper photographs, and cinema—is no exception.

But Andersson takes this process a step or two further, importing images of stacks of books and stray photographs, clipped from various sources, directly into her painted compositions. With careful observation, Andersson’s dreamy landscapes and interiors (often combined) slowly come to reveal common imagery and accumulated biblio-ephemera filtered through, and sharing space with, the artist’s muted palette, melancholic scenery, and textural paint. Mamma Andersson: Memory Banks focuses on this aspect of Andersson’s painting practice, exploring how her use of appropriated imagery and collaged elements charges her paintings with an eerie, uncanny sense of familiarity while indulging in wholehearted fantasy and suggestive narrative.

Mamma Andersson: Memory Banks is curated by Kevin Moore, FotoFocus Artistic Director and Curator and is presented in partnership with FotoFocus Biennial 2018 Opposite page: Akram Zaatari, Bodybuilders, Printed From A Damaged Negative Showing Hassan El Aakkad In Saida, 1948, 2007, Image courtesy of Thomas Dane Gallery

AKRAM ZAATARI

The Fold – Space, time and the image OCT 5, 2018 – FEB 10, 2019 Acclaimed Lebanese artist Akram Zaatari combines the roles of image-maker, archivist, curator, filmmaker and critical theorist to explore the role photography plays in both establishing and fabricating identity. He is also co-founder of the Arab Image Foundation (AIF), an organization initiated in Beirut to preserve, study and exhibit photographs from the Middle East, North Africa and the Arab diaspora from the 19th century to today. Zaatari recontextualizes this work, along with other archival photos and documents, in an interdisciplinary practice that mines the history of the image while simultaneously expanding its legacy and life.

For this exhibition he positions the seemingly simple fold as a narrative form, a reorganization, an enduring obfuscation and the memory of material. In his words, “a photograph captures space and folds it into a flat image, turning parts of a scene against others, covering them entirely….In those folds lies a history, many histories.” The work on display will attempt to uncover and imagine these stories, undertaking a provocative archaeology that peers into the fissures, scratches, erosion and that which archives previously shed.

Akram Zaatari: The Fold – Space, time and the image is curated by Steven Matijcio and is presented in partnership with FotoFocus Biennial 2018

ARCHIVING AS ART Steven Matijcio, Curator

With the proliferation of camera phones and the burgeoning phenomenon of social media, taking and sharing photos has become a ubiquitous act, but will these images endure? What historical value do snapshots accrue for anyone outside their immediate party? With the eclipse of film and the endless storage afforded to digital images, taking photos of family, friends, places, trips, encounters, meals, curiosities and oneself has become less an event than a habit. Albums and frames are replaced here by virtual clouds and swelling camera rolls, swiping our thumbs over a blur of pixelated memories, searching for an image we inevitably struggle to locate. A similar condition affects the shared enterprise of photography and record-keeping as a whole. Photos that were once bestowed inherent value for documenting people and events considered worthy of remembering now clog the veins of our collective body, each clamoring for attention, or at the very least, a second look.

Such questions inform the investigative practice of Lebanese artist Akram Zaatari (b. 1966), whose practice spans roles of archaeologist, historian, writer, filmmaker and critical theorist within a continuing interrogation of what photography means then and now. And while he has taught the medium at a university level in Beirut, Zaatari was never formally trained as a photographer and rarely presents what we consider a “new” image. Working instead with (and through) the work of others, he considers collecting as an artistic practice and “a form,”

in his words, “of creative unmaking and re-writing that is no less important than the act of taking images.” Expanding this model into a quasi-institutional platform, Zaatari was one of three co-founders of the Arab Image Foundation, an organization established in 1997 to preserve, study and exhibit photos from the Arab world that were in danger of being lost or destroyed. The virtue of such an endeavor seems immediate, and yet in practice, Zaatari envisions the AIF as “a radical alternative to both the museum and archive.” Deconstructing the very operation it performs, he elaborates, “I do not see the AIF merely as a keeper of documents, but as an institution that is perfectly placed to challenge or rethink the concept of the archive: to open up a critical debate about the origin, ownership and authorship of photographs.”

Applying a similar mandate to the work that he makes with materials in the AIF collection, Zaatari charts a course of creative “displacement”—relocating photos from their original context(s) to cultivate an expanded tapestry of associations.

In this arena photos exceed their images, living an expanded life as material artifacts and repositories of socio-cultural circulation. He thereby subverts standing orthodoxies and definitions in favor of renewal. Mining photos as microcosms, he muses, “To inscribe one’s desires into an archive is to widen the palette of a historian and to admit that the life that we live near objects, in friction with objects, owning them, passing them onto others, valuing them or cherishing them, trashing them, sometimes even destroying them, has so much to tell that we may not even realize in a lifetime.”

Teju Cole & Vijay Iyer Blind Spot October 6, 2018 • 5 PM FREE: with FotoFocus Passport Presented in partnership with FotoFocus Biennial @ Memorial Hall

Teju Cole, “one of the most vibrant voices in contemporary writing” (Los Angeles Times), joins Vijay Iyer, “one of his generation’s brightest jazz luminaries” (Time Out New York), in a powerful new collaboration.

Blind Spot combines Cole’s photography and spoken prose with Iyer’s “provocative and accessible, intellectually substantive and sensuously attractive” (Chicago Tribune) music in an investigation of humanity’s voluntary blindness to tragedy and injustice throughout history.

This performance of Blind Spot is supported by, and presented in partnership with FotoFocus Biennial 2018. Additional support provided by Kevin and Lib Ott.

“The places [Teju Cole] can go, you feel, are just about limitless.”

- The New York Times

“No one in jazz sounds like Iyer.”

- Chicago Tribune

PERMORMING ARTS SERIES Image credit: Top: Teju Cole; Above: Lena Adasheva; Right: Martin Lengemann

Do you have a quantity in mind for the artists or will you just know when you’ve reached a critical mass for the project?

We spoke with Raquel André’s creative partner, António Pedro Lopes about Collection of People, a long-term project comprised of four collections: Lovers, Collectors, Artists and Spectators. All of these collections are about things that are impossible to keep, about the ephemeral and how to find methodologies for collecting it.

At this moment they are collecting Artists, the third movement of the Collection of People.

Since you’re here in Cincinnati for a week meeting Artists, what is your process for collecting them?

We try to understand what artists work in a place. So, we create a list of artists working in different disciplines which can be literally anything, from literature to film to the performing arts to visual artists, you name it. We don’t pick based on the discipline. Once we choose the artist, Raquel interviews them and asks the artist to share a moment of their artistic creation. This can be whatever the artist wants to teach or pass along to another person. Bernardo and I wait in the studio after each meeting as she writes a performance and rehearses it before she shows it to us. [This] is not a summary, but a first insight into her experience with that artist. Then we have a Q&A with her to understand what happened in the meeting: Who are they? What is their artistic universe like? How does this connect to their life, their biography, their hometown, etc.

Yes we do. This is from a larger project called Collection of People, so the first collection, Collection of Lovers, which we are performing [in Cincinnati] has 167 Lovers now and probably eight more from Cincinnati, so there will be 175. We have a working plan for Cincinnati where we actually defined how many artists we would like to meet—but the actual performance premieres in 2019—which is 26. 26 artists total.

Does your approach change based on what city you’re in or do you have a system?

Yeah, it’s not so much depending on the city each time but the artist. Who is that person or what does their work look like? What’s their discipline? How open or not are they to being invaded by a woman that tells them she wants to collect them? <laughs> In a way to have their material integrated into her show so that she can tell their story—it’s very much person to person.

Why did you decide to choose people as a medium?

The answer I hear from Raquel most often is this idea that meeting with the other is the most ephemeral thing there is. Looking toward the other or trying to collect [that moment], to keep it in time or memory, in emotions, in exchange—is the most impossible test. So that’s why she decided to create this methodology of collecting the other—collecting people. For her people creating a relationship to one another is that most ephemeral thing. There’s this metaphor—it’s almost like trying to grab smoke with your hands.

Raquel will return to Cincinnati to perform Collection of Artists, which includes two Cincinnati-based artists, in an upcoming Black Box season. Stay tuned!

Such + Such is a group of reluctant artists that just like to make things. With their roots in design, they’ve also made forays into the world of contemporary art. In 2013 the group created their first works for the CAC in the group show The Living Room alongside other local artists, and they’re currently in the process of creating an entirely new installation for the UnMuseum that will open in early 2019. We got to talk Such + Such Partner and Designer Zach Darmanian-Harris about their journey from creating design-build work to crafting works of contemporary art.

CAC:

ZACH:

C:

So what was the process like working on Living Room?

The whole idea was to create a livable art space, which was crazy you even reached out to us. We’re designers first, not artists.

But at the same time, we’ll jump at the opportunity to make things that aren’t for a typical client. That’s one of the projects I’m most proud of. I never went through school expecting I’d ever show in a museum, and now I get to do it with you again.

That’s interesting that you didn’t call yourself an artist after you’re about to show your work in a museum twice.

Z:

I know! I’m not traditional though; I don’t have fine arts training.

C:

That’s the beauty of contemporary artists — they’re coming from unusual fields and are a little bit of everything now.

Z:

True.

C:

What it’s like working with a Museum vs. a Client as far as the design process goes?

Z:

Museums are still your clients, they want a good outcome just like you do. With art-focused projects, there’s more room for experimentation. Yes, you have to make things look good and have meaning, but you don’t need to worry about whether or not the cash register fits right, you know?

C: Totally. I know you’re still figuring things out, but what are you thinking for your next installation in the UnMuseum?

Z: It’s still pretty early, but we want to do a mix of digital and physical. Our studio’s been looking into how digital incorporates with the built environment, and we want something interactive and playful.

C: So what’s the favorite project you guys have taken on since moving into this new space?

Z: The one I’m most excited about right now is Corporate, the shoe store in Hyde Park.

We got to have the most power. We did all of the little details—deciding paint colors, hiring the drywall guy—so in the end it came out really nice.

Anything that’s public is usually my favorite. Like the Ping-Pong tables in Ziegler Park are awesome, because every time I drive by, I see people playing on them and I’m like, “that’s freaking cool!” +

Space to Become

Teen Membership Kicks off A New Season of Youth Programs at the CAC

The Contemporary Arts Center’s enduring position as a space where new ideas and culture thrive is largely due to our dedication to engagement with younger audiences. Since launching “Free Admission for All” in 2016, that sentiment has become even more evident. From writing exhibition wall text in Tweet style, to organizing the city’s first Art Prom, it’s clear that young people aren’t just visiting the CAC, they’re actively shaping our future in compelling and creative ways.

In response to the surge in attendance and participation from our younger visitors, we’ve introduced the Teen Membership program to carve out a space specifically for them to continue to take part in our mission. With this new program, all of our guests 17 and under can experience the benefits of Individual Membership, including invitations to artist talks, special programming and discounts. In addition to Teen Membership, the newest members of the C-YA Teen Council are being inducted, making this Fall an exciting time for young visitors to experience all that the CAC has to offer.

To get some insight into the story behind the runaway success of this program we went to the expert, our Associate Educator of Family and Youth Programs, Elizabeth Hardin-Klink to find out more about Teen Membership and all the exciting new ways this burgeoning audience can take part in what’s happening at the CAC.

How has sign up for Teen Membership been going in the months since its introduction?

Teen Membership has taken off in a way I never expected. We knew the CAC had a large young adult audience, but no one predicted we’d have over 1,000 teens sign up to be members in less than three months. It’ll be exciting to see how large this program grows over the coming year.

What other types of teen and young adult programming does the CAC have to offer?

Our programming has continued to grow to meet this new expanding audience. Our young adult visitors now have a large range of options that let them explore challenging subjects and work directly with real artists. Young Adult Lab has been a big success, providing teens with a place to hang out and create amongst their peers. We’ve also teamed up with the library’s Teen Spot for a collaborative project called Artbrary and our new Artist in Residence program allows visitors to work with local artists during the museum’s evening hours.

What cool things are in store for the latest C-YA Teen Council members?

There is so much in store this year for our newest C-YA members! We’ll be kicking this season off with a private workshop, led by Portuguese artist Raquel André. Students will be working across departments, developing wall text alongside our curators and creating content for the infamous Metrobot. With the success of last year’s Art Prom under their belts, our teens will be hard at work planning a new large student organized event for their peers.

KEY

CALENDAR

FALL • WINTER 2018

FAMILY PROGRAMS KEY

STUFF FOR GROWN UPS

FAMILY PROGRAMS

STUFF FOR TEENS

STUFF FOR GROWN UPS

EVERYONE IS WELCOME

STUFF FOR TEENS

$ TICKETED

EVERYONE IS WELCOME

WEEKLIES THE ART OF YOGA $ TUESDAYS • 12:00–1:00PM ARTIST IN RESIDENCE WED–FRI • 5:00–8:00PM THURSDAY ART PLAY $ THURSDAYS • 10:30–11:30AM YOUNG ADULT LAB THURSDAYS • 4-6PM

SEPTEMBER 19 21

11:00AM–12:30PM $ (REGISTRATION REQUIRED)* HOMESCHOOL WEDNESDAY: WESTON GALLERY FIELD TRIP 5:30PM NO TWO ALIKE: GUIDED TOUR WITH THE CURATOR

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12:00–3:00PM FAMILY FESTIVAL: BODACIOUS BOTANICALS

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1:00PM OTR FILM FESTIVAL: PBS ART 21 SCREENING AND TALK WITH TOM DI MARIA

TICKETED

OCTOBER 05

8:00–11:00PM OPENING CELEBRATION: FOTOFOCUS EXHIBITIONS

06

8:00PM $ TEJU COLE & VIJAY IYER: BLIND SPOT

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1:00–2:00PM CAC@21C (meet at 21C)

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1:00–2:00PM BILINGUAL TOUR: NO TWO ALIKE 2:00–4:00PM $ FADE2BLACK FILM FESTIVAL: SCREENING AND TALK

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11:00AM–12:30PM $ (REGISTRATION REQUIRED)* HOMESCHOOL WEDNESDAY: MEMORY BANKS TOUR

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10:00AM–1:00PM $ TEACHER WORKSHOP: PHOTOGRAPHY + THE ARCHIVE 1:00–3:00PM MAKERSPACE: INSPIRED BY NATURE

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5:00–6:00PM CAC@21C (meet at 21C)

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12:00–3:00PM FAMILY FESTIVAL: PRINT PARTY!

1:00–2:00PM CAC@21C (meet at 21C)

« THURSDAY ART PLAY A great way to schedule creative play time with your little ones. This program uses storytelling, performance and hands-on artmaking activities to excite and educate our youngest visitors.

NOVEMBER 07

10:00AM–12:00PM (REGISTRATION REQUIRED)** MEMORIES IN THE MUSEUM: PHOTOGRAPHIC INSPIRATION

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6:00–8:00PM DRINK AND DRAW: BOOZY BOTANY

10

1:00–2:00PM CAC@21C (meet at 21C)

11

1:00–2:00PM BILINGUAL TOUR: ANDERSON & ZAATARI

24 28

12:00–3:00PM FAMILY FESTIVAL: OH SNAP! 11:00AM–12:30PM $ (REGISTRATION REQUIRED)* HOMESCHOOL WEDNESDAY: NO TWO ALIKE TOUR 6:00–8:00PM $ ONE NIGHT ONE CRAFT: SCI-FI EMBROIDERED ORNAMENTS

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5:00–6:00PM CAC@21C (meet at 21C)

* Homeschool Wednesday Registration: contemporaryartscenter.org/programs/school-programs/ homeschool-wednesdays * Memories at the Museum Registration: Call the Alzheimer’s Association @ 1-800-272-3900

YOUNG ADULT LAB « Stop by the UnMuseum on the 6th floor for a free dropin art making program for young adults.

DECEMBER 01

10:00–11:30AM EDUCATOR WORKSHOP: EXHIBTION EXCHANGE 6:00–8:00PM DRINK AND DRAW: ART TRIVIA

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1:00–2:00PM CAC@21C (meet at 21C)

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1:00–2:00PM BILINGUAL TOUR: ARCHITECTURE

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2:00–4:00PM $ ONE NIGHT ONE CRAFT: ALCOHOL INK GIFTS

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5:00–6:00PM CAC@21C (meet at 21C)

JANUARY 03

6:00–8:00PM DRINK AND DRAW:

12

1:00–2:00PM CAC@21C (meet at 21C)

13

1:00–2:00PM BILINGUAL TOUR: FOTOFOCUS

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11:00AM–12:30PM $ (REGISTRATION REQUIRED)* HOMESCHOOL WEDNESDAY: AKRAM ZAATARI TOUR

BOOK YOUR NEXT EVENT WITH THE CAC For more information, contact the Facility Rentals Manager at 513-345-8415 o r events@contemporaryartscenter.org

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Image on cover and left: Akram Zaatari, Bodybuilders, Printed From A Damaged Negative Showing Hassan El Aakkad In Saida, 1948, 2007, Image courtesy of Thomas Dane Gallery