ARTS & CULTURE

ARTS & CULTURE CULTURE ARTS & CULTURE

Justin Green (bottom left) created “A Postcard From Home” mural in Carthage and Binky Brown Meets the Holy Virgin Mary.

PHOTOS:COURTESY OF JULIA GREEN

Remembering an Underground Innovator Remembering an Underground Innovator A new exhibit at Northside’s (DSGN)CLLCTV celA new exhibit at Northside’s (DSGN)CLLCTV celebrates the life and work of Cincinnati cartoonist ebrates the life and work of Cincinnati cartoonist and sign painter Justin Green. and sign painter Justin Green. BY STEVEN ROSEN

BY STEVEN ROSEN

After Justin Green died in April, he was remembered by ArtWorks CEO and artistic director Colleen Houston as “one of our community’s greatest art icons.” He was that and much more. His 1972 comic book series Binky Brown Meets the Holy Virgin Mary is regarded by many as the rst autobiographical comic and a progenitor of a major new literary style with origins in cartooning. Beginning Oct. 6 and continuing through Dec. 31, there will be an art exhibition to show his work’s — and life’s — breadth and depth at (DSGN) CLLCTV in Northside. Opening night is just for friends and family and will A fter Justin Green died in April, he was remembered by ArtWorks CEO and artistic director Colleen Houston as “one of our community’s greatest art icons.” He was that and much more. His 1972 comic book series Binky Brown Meets the Holy Virgin Mary is regarded by many as the rst autobiographical comic and a progenitor of a major new literary style with origins in cartooning. Beginning Oct. 6 and continuing through Dec. 31, there will be an art exhibition to show his work’s — and life’s — breadth and depth at (DSGN) CLLCTV in Northside. Opening night is just for friends and family and will be a memorial tribute that requires an be a memorial tribute that requires an advance RSVP at dsgncllctv.com. e public opening will occur Oct. 7 from 7-11 p.m.

Green, his wife Carol Tyler — an acclaimed cartoonist — and their thenpre-teen daughter Julia Green moved to Cincinnati from Sacramento in the late 1990s. He started making quite a local impact as a comic artist, a sign painter and a music lover.

Green’s monthly comic for the Cincinnati-based Signs of the Times publication, which he had started while in California, proved so popular that a collection was published in 1995. For ArtWorks, he was lead designer and teaching artist for the delightful “A Postcard From Home” mural in Carthage. And in the 2010s,

advance RSVP at dsgncllctv.com. e public opening will occur Oct. 7 from 7-11 p.m.

Green, his wife Carol Tyler — an acclaimed cartoonist — and their thenpre-teen daughter Julia Green moved to Cincinnati from Sacramento in the late 1990s. He started making quite a local impact as a comic artist, a sign painter and a music lover. Green’s monthly comic for the Cincinnati-based Signs of the Times publication, which he had started while in California, proved so popular that a collection was published in 1995. For ArtWorks, he was lead designer and teaching artist for the delightful “A Postcard From Home” mural in Carthage. And in the 2010s, he headed the team that created the popular Cincinnati Musical Legends card deck, under the auspices of ArtWorks and Northside’s Shake It Records. Green was a meticulous and creative sign painter, whose high standards and belief in hand lettering made his work notable in Cincinnati. His signs are around town, especially at Shake It Records, whose front window features his mural-like painting on wood of a music a cionado browsing a record store’s choice goods under “Wall to Wall Vinyl” lettering. Green also was an

he headed the team that created the popular Cincinnati Musical Legends card deck, under the auspices of ArtWorks and Northside’s Shake It Records.

Green was a meticulous and creative sign painter, whose high standards and belief in hand lettering made his work notable in Cincinnati. His signs are around town, especially at Shake It Records, whose front window features his mural-like painting on wood of a music a cionado browsing a record store’s choice goods under “Wall to Wall Vinyl” lettering. Green also was an accomplished guitarist who wrote a tune accomplished guitarist who wrote a tune called “Sign Painter Blues”. But he was far more than a local notable. Long before the Boston-born and Chicago-raised Green moved to Cincinnati, he had made his impact with Binky Brown, which he wrote and drew in 1972 while living in San Francisco. ere, he was part of its emerging “underground” comics movement. Binky Brown depicted — through an alter ego — the ways in which Green’s obsessive-compulsive disorder (OCD) called “Sign Painter Blues”. But he was far more than a local notable. Long before the Boston-born and Chicago-raised Green moved to Cincinnati, he had made his impact with Binky Brown, which he wrote and drew in 1972 while living in San Francisco. ere, he was part of its emerging “underground” comics movement. Binky Brown depicted — through an alter ego — the ways in which Green’s obsessive-compulsive disorder (OCD) tormented him, especially as it related to tormented him, especially as it related to

his con icted Catholic upbringing.

Binky Brown has since been hailed by such “alternative” or “underground” comic giants as Art Spiegelman and Bill Gri th. In 2009, when the prestigious publishing house McSweeney’s issued a hardbound edition of the book, Publishers Weekly called Binky Brown “the Rosetta Stone of autobiographical comics.” And in 2012, it was the focus of an exhibition in Lisbon, Portugal. e exhibit opening next month at (DSGN)CLLCTV is called Binky Brown’s Funeral Pyre. His daughter Julia coowns the gallery with Mike Gonsalves. ere may well be some attendees from throughout the country at the opening — not just other comic artists or sign painters, but also Green’s biographer and a lmmaker working on a documentary about him and wife Tyler.

It took quite a while to make this show happen — Green died on April 23 at age 76 from colon cancer. But it was a complicated project.

“I’ve had this gallery since 2021, and I’ve been bugging him to do a show since then,” Julia says. “But he has such a large body of work, he felt overwhelmed by the idea and kept putting it o . When he found out he didn’t have a lot of time, he wanted to do an art show as one of his last hurrahs. en, when he found out he had maybe three months left, he said, ‘I want this to be instead of a (traditional) memorial service. I want the opening to be as soon as I’m on my deathbed so people feel urgency to see it.’”

Her father’s health declined too rapidly for an orderly planning of the show to be completed quickly. When Green died, he was still drawing sketches for the exhibition, which he had also titled. e immediate family — Julia and Tyler — needed until now to do the show right by Green’s wishes. ey also wanted to plan ancillary events during the exhibition’s course, with information to be shared later. Green’s daughter from an earlier marriage, Catlin Wulferdingen, also provided some general input.

It became a very personal project.

“We are not a museum; this is my daughter’s gallery,” says Tyler. “What has to come through is the love, because Julia and Katie are mourning their dad and honoring his wish.”

While Green saved much, his originals for his work — including Binky Brown — had often been sold inexpensively.

“In the 1970s, he was in a renegade art form, so the value placed on his work then wasn’t what it is today,” Julia explains. “Oftentimes, my dad would just sell them to collectors to make rent. But the miracle is he did still save a lot of work.”

Saved and planned for display, she says, will be his sketchbooks, notebooks and writings that outline his ideas. ey will be shown alongside work,

his con icted Catholic upbringing. Binky Brown has since been hailed by such “alternative” or “underground” comic giants as Art Spiegelman and Bill Gri th. In 2009, when the prestigious publishing house McSweeney’s issued a hardbound edition of the book, Publishers Weekly called Binky Brown “the Rosetta Stone of autobiographical comics.” And in 2012, it was the focus of an exhibition in Lisbon, Portugal. e exhibit opening next month at (DSGN)CLLCTV is called Binky Brown’s Funeral Pyre. His daughter Julia coowns the gallery with Mike Gonsalves. ere may well be some attendees from throughout the country at the opening — not just other comic artists or sign painters, but also Green’s biographer and a lmmaker working on a documentary about him and wife Tyler. It took quite a while to make this show happen — Green died on April 23 at age 76 from colon cancer. But it was a complicated project. “I’ve had this gallery since 2021, and I’ve been bugging him to do a show since then,” Julia says. “But he has such a large body of work, he felt overwhelmed by the idea and kept putting it o . When he found out he didn’t have a lot of time, he wanted to do an art show as one of his last hurrahs. en, when he found out he had maybe three months left, he said, ‘I want this to be instead of a (traditional) memorial service. I want the opening to be as soon as I’m on my deathbed so people feel urgency to see it.’” Her father’s health declined too rapidly for an orderly planning of the show to be completed quickly. When Green died, he was still drawing sketches for the exhibition, which he had also titled. e immediate family — Julia and Tyler — needed until now to do the show right by Green’s wishes. ey also wanted to plan ancillary events during the exhibition’s course, with information to be shared later. Green’s daughter from an earlier marriage, Catlin Wulferdingen, also provided some general input. It became a very personal project. “We are not a museum; this is my daughter’s gallery,” says Tyler. “What has to come through is the love, because Julia and Katie are mourning their dad and honoring his wish.” While Green saved much, his originals for his work — including Binky Brown — had often been sold inexpensively. “In the 1970s, he was in a renegade art form, so the value placed on his work then wasn’t what it is today,” Julia explains. “Oftentimes, my dad would just sell them to collectors to make rent. But the miracle is he did still save a lot of work.” Saved and planned for display, she sometimes originals and sometimes reproductions. “It’s cool to see his thoughts and process behind nished products — his mind is amazing,” she says. e exhibition will have a Binky Brown section as well as one for artwork from some of his other underground comics, like the 1976 Sacred and Profane. One section will be devoted to Green’s miscellaneous works, such as ArtWorks projects and in-progress ideas. His studio will also be recreated, and such meaningful mementoes as fan letters from celebrated writers Kurt Vonnegut and Tom Wolfe will be featured, as will correspondence from fellow comic artists Robert Crumb and S. Clay Wilson. Another section will be devoted to his sign making and related art, including work from his Sign Game comic and his workshop. “He liked signs because they gave him relief from OCD,” Tyler says. “A sign gave him a chance to focus on something and see it through to fruition.” Green was ahead of the times as a sign maker as well as a comic artist. Tod Swormstedt, the editor who approved his Signs of the Times work and now is president of the American Sign Museum in Camp Washington, says Green’s craft has proven prescient. “ ere’s been a renewed interest in hand lettering,” Swormstedt says. “In this era of planned obsolescence, people are really interested in things hand-done.” Swormstedt sees carry-over interest in Green’s advocacy of artful signs with beautiful lettering with the new popularity of tattoos and street murals. e exhibit’s nal section will have personal material. is will feature Green’s chair, books, clothing and — for the opening, at least — his ashes. “It’s called the Inner Sanctum,” Julia says. Everything considered, Binky Brown’s Funeral Pyre will be a portrait of an artist and man as admired by his family, friends and fans. “ ere’s all this artwork but the true artwork is him, and this will show that,” says Wulferdingen, who lives in Chico, California. “Everything in his life he approached as thoughtfully as he did Binky Brown. “Just creating the right set-up for the bird feeders in his backyard took his full attention in the same way that a comic would, or a sign,” she continues. “Or his weird concoctions in the kitchen. I think the show will tell the full story of who he was in a way that people don’t know. It will have the tangible artifacts that tell why we love him.” says, will be his sketchbooks, notebooks and writings that outline his ideas. ey will be shown alongside work, sometimes originals and sometimes reproductions. “It’s cool to see his thoughts and process behind nished products — his mind is amazing,” she says. e exhibition will have a Binky Brown section as well as one for artwork from some of his other underground comics, like the 1976 Sacred and Profane. One section will be devoted to Green’s miscellaneous works, such as ArtWorks projects and in-progress ideas. His studio will also be recreated, and such meaningful mementoes as fan letters from celebrated writers Kurt Vonnegut and Tom Wolfe will be featured, as will correspondence from fellow comic artists Robert Crumb and S. Clay Wilson. Another section will be devoted to his sign making and related art, including work from his Sign Game comic and his workshop. “He liked signs because they gave him relief from OCD,” Tyler says. “A sign gave him a chance to focus on something and see it through to fruition.” Green was ahead of the times as a sign maker as well as a comic artist. Tod Swormstedt, the editor who approved his Signs of the Times work and now is president of the American Sign Museum in Camp Washington, says Green’s craft has proven prescient. “ ere’s been a renewed interest in hand lettering,” Swormstedt says. “In this era of planned obsolescence, people are really interested in things hand-done.” Swormstedt sees carry-over interest in Green’s advocacy of artful signs with beautiful lettering with the new popularity of tattoos and street murals. e exhibit’s nal section will have personal material. is will feature Green’s chair, books, clothing and — for the opening, at least — his ashes. “It’s called the Inner Sanctum,” Julia says. Everything considered, Binky Brown’s Funeral Pyre will be a portrait of an artist and man as admired by his family, friends and fans. “ ere’s all this artwork but the true artwork is him, and this will show that,” says Wulferdingen, who lives in Chico, California. “Everything in his life he approached as thoughtfully as he did Binky Brown. “Just creating the right set-up for the bird feeders in his backyard took his full attention in the same way that a comic would, or a sign,” she continues. “Or his weird concoctions in the kitchen. I think the show will tell the full story of who he was in a way that people don’t know. It will have the tangible artifacts that tell why we love him.”

Binky Brown’s Funeral Pyre

Binky Brown’s Funeral Pyre runs Oct. 6-Dec. 31 at (DSGN)CLLCTV, 4150 Hamilton Ave., Northside. runs Oct. 6-Dec. 31 at (DSGN)CLLCTV, 4150 Hamilton Ave., Northside. Info: dsgncllctv.com. Info: dsgncllctv.com.

CULTURE CULTURE

Cincinnati Playhouse in the Park’s Unconventional 2022-2023 Season Opens with Agatha Christie Classic Cincinnati Playhouse in the Park’s Unconventional 2022-2023 Season Opens with Agatha Christie Classic BY RICK PENDER

BY RICK PENDER

The Cincinnati Playhouse in the Park will not produce shows in Eden Park this fall. e Marx eatre, the Playhouse’s longtime mainstage, has been demolished to make way for the new “Moe and Jack’s Place – e Rouse eatre.” For several months, access to the existing Rosenthal Shelterhouse eatre will also be restricted.

Instead, Playhouse shows will move to three other venues around town: e Arono Center’s Jarson-Kaplan eater, the Otto M. Budig eatre at Covington’s Carnegie Center and Cincinnati Landmark Productions’ Warsaw Federal Incline eater. e Playhouse’s producing artistic director Blake Robison tells CityBeat that he got the idea from Atlanta’s Alliance eatre.

“When they had to take a pause for a giant renovation there, they took a whole season o -site, a season of plays in di erent neighborhoods all over Atlanta. at inspired us to dig in and see if we could do it in a smaller way — just for the fall, not the whole season,” Robison says. “We loved the idea that we’re going into di erent neighborhoods, running into di erent people, making new friends and inviting them back to Eden Park when we open the new theater in March.”

Each production has been matched speci cally to the venue.

“All three [venues] were very cooperative and eager,” Robison says. “We need a venue that can accommodate all of our subscribers and all of the many single ticket buyers who are going to come to see it.”

Up rst will be Ken Ludwig’s popular adaptation of Agatha Christie’s Murder on the Orient Express at the JarsonKaplan eater, opening on Sept. 25. e Playhouse anticipates that it will be hugely popular, recalling interest in prior best-selling productions of Christie’s mysteries: Ten Little Indians in 1982 and again in 2002; e Mousetrap in 1995; and Witness for the Prosecution in 2006.

Murder on the Orient Express was developed as a co-production between the Playhouse and Indiana Repertory eatre in early 2020. It’s the story of ten passengers on a luxurious train traveling from Istanbul to Western Europe. After an unexpected stop in the snowy mountains, only nine are still alive — and everyone else is a suspect. Finding the killer is the task of Christie’s renowned detective Hercule Poirot.

“Indiana got their half in early in 2020, and then March of 2020 hit, and we weren’t able to do the second half of the co-production,” Robison explains. “We have the same creative team and the same director, but the show had to be re-designed for the Jarson-Kaplan instead of the Marx eatre.”

About half of the original cast was still available, including actor Andrew May, as Poirot, he adds. e Playhouse’s other two o -site productions are solo performances – the kind of shows typically presented in the Rosenthal Shelterhouse eatre. Frida … A Self Portrait (Oct. 15-Nov. 6) is slated for the Carnegie. It’s an imaginative show about Mexican painter Frida Kahlo, developed by the Playhouse’s new associate artistic director Joanie Schultz. Robison traveled to Portland, Oregon, to see it staged there when Schultz was being hired. It stars Vanessa Severo, who also wrote the script.

“ e piece itself and the performer are magnetic, physical, and inspirational,” Robison says. “I thought this would be a great greeting card for Joanie to bring to Cincinnati – her way to say, ‘ is is who I am, this is what I bring to the table as a theater director.”

At the Incline eater in Price Hill, the Playhouse will o er e Lion (Nov. 12-Dec. 4).

“ is show was a big hit o -Broadway several years ago, and it’s something I’ve been aware of for a while,” Robison says. e one-man show portrays a singersongwriter who tells his family’s stormy story, presenting his tale with monologues and songs and using six di erent guitars.

“It had a small tour to regional theaters, which we were not able to get at the time,” Robison says.

After the depths of the pandemic, it was produced in London. Knowing of Robison’s interest, the director planned to bring it to his theater in Arizona and asked if it might work in Cincinnati.

“I said absolutely we wanted it,” Robison says. “It’s a really sincere, lovely biographical story, told as a folk musical. He tells the story of his young life, and it’s mesmerizing.”

Robison says that the welcoming nature of Cincinnati’s theater community made it possible for them to collaborate with other local companies.

“I certainly hope that these collaborations mean positive relations for the future,” Robison says. “Everyone has been really enthusiastic and cooperative. I think Cincinnati is recognized and well known as a friendly arts community — we don’t think of each other as the competition. We really are in a rising-tide-lifting-all-boats sort of community. So everybody wins in this fall season.” is is an opportunity for Playhouse subscribers to visit other Cincinnati theaters and see productions elsewhere, Robison adds.

“We have heard from some subscribers that they’ve never been to the Carnegie, they’ve never been to the Incline eater. So that’s part of the mutually bene cial situation we nd ourselves in,” Robison says. e Playhouse’s new mainstage, the Rouse eatre, has been designed as an up-to-date production facility o ering a

The Cincinnati Playhouse in the Park will not produce shows in Eden Park this fall. e Marx eatre, the Playhouse’s longtime mainstage, has been demolished to make way for the new “Moe and Jack’s Place – e Rouse eatre.” For several months, access to the existing Rosenthal Shelterhouse eatre will also be restricted.

Instead, Playhouse shows will move to three other venues around town: e Arono Center’s Jarson-Kaplan eater, the Otto M. Budig eatre at Covington’s Carnegie Center and Cincinnati Landmark Productions’ Warsaw Federal Incline eater. e Playhouse’s producing artistic director Blake Robison tells CityBeat that he got the idea from Atlanta’s Alliance eatre.

“When they had to take a pause for a giant renovation there, they took a whole season o -site, a season of plays in di erent neighborhoods all over Atlanta. at inspired us to dig in and see if we could do it in a smaller way — just for the fall, not the whole season,” Robison says. “We loved the idea that we’re going into di erent neighborhoods, running into di erent people, making new friends and inviting them back to Eden Park when we open the new theater in March.”

Each production has been matched full array of modern theater technology. speci cally to the venue. It aism to enhance the Playhouse’s abil-

“All three [venues] were very coop- ity to attract top talent — actors, direc-erative and eager,” Robison says. “We tors and designers. ere also will be an need a venue that can accommodate all increased potential for co-productions of our subscribers and all of the many with other theaters and for tryouts of single ticket buyers who are going to Broadway-bound productions. e come to see it.” Rouse eatre will have its grand open-

Up rst will be Ken Ludwig’s popular ing in March 2023. adaptation of Agatha Christie’s Murder One of Broadway’s greatest musicals, on the Orient Express at the Jarson- A Chorus Line (March 11-April 15) will Kaplan eater, opening on Sept. 25. be the rst Playhouse production per- e Playhouse anticipates that it will formed at the Rouse eatre. e Shelbe hugely popular, recalling interest in terhouse season gets underway with prior best-selling productions of Chris- e Chinese Lady (March 25-April 30). tie’s mysteries: Ten Little Indians in e Rouse eatre will o er another 1982 and again in 2002; e Mousetrap Playhouse production of one of August in 1995; and Witness for the Prosecution Wilson’s memorable “Century Cycle” in 2006. plays, Seven Guitars (April 23-May 14).

Murder on the Orient Express was e season wraps up with two world developed as a co-production between premieres: a comedy, Origin Story (May the Playhouse and Indiana Repertory 20-June 25) in the Shelterhouse, and a eatre in early 2020. It’s the story of mainstage adaptation of the great West-ten passengers on a luxurious train ern lm Shane (June 3-25). e latter traveling from Istanbul to Western is a co-production with the renowned Europe. After an unexpected stop in the Guthrie eater in Minneapolis.snowy mountains, only nine are still alive — and everyone else is a suspect. Finding the killer is the task of Christie’s renowned detective Hercule Poirot.

“Indiana got their half in early in 2020, and then March of 2020 hit, and we weren’t able to do the second half of the co-production,” Robison explains. “We have the same creative team and the same director, but the show had to be re-designed for the Jarson-Kaplan instead of the Marx eatre.” About half of the original cast was still available, including actor Andrew May, as Poirot, he adds. e Playhouse’s other two o -site productions are solo performances – the kind of shows typically presented in the Rosenthal Shelterhouse eatre. Frida … A Self Portrait (Oct. 15-Nov. 6) is slated for the Carnegie. It’s an imaginative show about Mexican painter Frida Kahlo, developed by the Playhouse’s new associate artistic director Joanie Schultz. Robison traveled to Portland, Oregon, to see it staged there when Schultz was being hired. It stars Vanessa Severo, who also wrote the script. “ e piece itself and the performer are magnetic, physical, and inspirational,” Robison says. “I thought this would be a great greeting card for Joanie to bring to Cincinnati – her way to say, ‘ is is who I am, this is what I bring to the table as a theater director.” At the Incline eater in Price Hill, the Playhouse will o er e Lion (Nov. 12-Dec. 4). “ is show was a big hit o -Broadway several years ago, and it’s something I’ve been aware of for a while,” Robison says. e one-man show portrays a singersongwriter who tells his family’s stormy story, presenting his tale with monologues and songs and using six di erent guitars. “It had a small tour to regional theaters, which we were not able to get at the time,” Robison says. After the depths of the pandemic, it was produced in London. Knowing of Robison’s interest, the director planned to bring it to his theater in Arizona and asked if it might work in Cincinnati. “I said absolutely we wanted it,” Robison says. “It’s a really sincere, lovely biographical story, told as a folk musical. He tells the story of his young life, and it’s mesmerizing.” Robison says that the welcoming nature of Cincinnati’s theater community made it possible for them to collaborate with other local companies. “I certainly hope that these collaborations mean positive relations for the future,” Robison says. “Everyone has been really enthusiastic and cooperative. I think Cincinnati is recognized and well known as a friendly arts community — we don’t think of each other as the competition. We really are in a rising-tide-lifting-all-boats sort of community. So everybody wins in this fall season.” is is an opportunity for Playhouse subscribers to visit other Cincinnati theaters and see productions elsewhere, Robison adds. “We have heard from some subscribers that they’ve never been to the Carnegie, they’ve never been to the Incline eater. So that’s part of the mutually bene cial situation we nd ourselves in,” Robison says. e Playhouse’s new mainstage, the Rouse eatre, has been designed as an up-to-date production facility o ering a full array of modern theater technology. It aism to enhance the Playhouse’s ability to attract top talent — actors, directors and designers. ere also will be an increased potential for co-productions with other theaters and for tryouts of Broadway-bound productions. e Rouse eatre will have its grand opening in March 2023. One of Broadway’s greatest musicals, A Chorus Line (March 11-April 15) will be the rst Playhouse production performed at the Rouse eatre. e Shelterhouse season gets underway with e Chinese Lady (March 25-April 30). e Rouse eatre will o er another Playhouse production of one of August Wilson’s memorable “Century Cycle” plays, Seven Guitars (April 23-May 14). e season wraps up with two world premieres: a comedy, Origin Story (May 20-June 25) in the Shelterhouse, and a mainstage adaptation of the great Western lm Shane (June 3-25). e latter is a co-production with the renowned Guthrie eater in Minneapolis.

Andrew May plays Hercule Poirot in Murder on the Orient Express.

PHOTO:ZACH ROSING Andrew May plays Hercule Poirot in Murder on the Orient Express. Max Alexander-Taylor leads The Lion, a one-man show.

PHOTO:PAMELA RAITH Max Alexander-Taylor leads The Lion, a one-man show.

PHOTO:ZACH ROSING PHOTO:PAMELA RAITH

Vanessa Severo stars as Frida Kahlo in and wrote the script for Frida … A Self-Portrait.

PHOTO:OWEN CAREY FOR PORTLAND CENTER STAGE Vanessa Severo stars as Frida Kahlo in and wrote the script for Frida … A Self-Portrait.

PHOTO:OWEN CAREY FOR PORTLAND CENTER STAGE

e Cincinnati Playhouse in the e Cincinnati Playhouse in the Park’s 2022-2023 opens with Murder on Park’s 2022-2023 opens with Murder on the Orient Express on Sept. 25 at the the Orient Express on Sept. 25 at the Arono Center’s Jarson-Kaplan eatre. Arono Center’s Jarson-Kaplan eatre. Info: cincyplay.com. Info: cincyplay.com.

CULTURE CULTURE

Artists, Makers Open Their Doors in Camp Washington for ‘Made in Camp’ Community Event Artists, Makers Open Their Doors in Camp Washington for ‘Made in Camp’ Community Event BY NATALIE CLARE

BY NATALIE CLARE

Made In Camp is a free neighborhood open house designed to connect the public with Camp Washington creatives and organizations.

PHOTOS: PROVIDED BY WAVE POOL Made In Camp is a free neighborhood open house designed to connect the public with Camp Washington creatives and organizations.

PHOTOS: PROVIDED BY WAVE POOL

Nestled between Clifton and Fairmount and preceded by a century-long history of manufacturing and production, today’s Camp Washington is teeming with creative energy. Artists, makers and manufacturers have reimagined former factories and buildings as new spaces for creation and innovation.

Many of them will open their doors to the public for tours and demonstrations for Made In Camp on Saturday, Oct. 8, from noon to 4 p.m.

Now in its fth year, Made In Camp is a free, neighborhood-wide open house designed to connect the public with makers, artists, collectives and organizations who have studios, galleries and workshops in the Camp Washington community. e 2021 event included 34 participating venues along main roads Colerain Avenue, Spring Grove Avenue, Hopple Street and adjacent side streets. is year’s event is expected to feature a similar number of venues along the same route (as of press time, Wave Pool hasn’t announced a list of participating venues). Live music will be performed at CampSITE Sculpture Park, the American Sign Museum and the Camp Washington Community Board; some of the musical artists include Static Falls, Fairmount Girls and All Seeing Eyes. Pizza will be provided at FLAG Studio by sculpture artist Joe Girandola.

Cal Cullen, executive director of Wave Pool and one of the founders of Made In Camp, says the event has grown consistently since its inauguration in 2017. Its mission is to highlight the neighborhood’s artist and maker community, which Cullen says is very active but often “hidden from view.”

“I want people who drive through Camp Washington each day on their commute to maybe think of the painters, welders, printers and carvers that are working within these buildings as they pass by, rather than thinking of them as vacant or underutilized, as perhaps many might before attending this event,” Cullen tells CityBeat.

From the outside, Camp Washington (which residents often a ectionately referred to as “Camp” or “the Camp”) re ects aspects of its industrial past. e neighborhood was the center of Cincinnati’s pork industry in the early 20th century, employing thousands of residents at meatpacking plants. Like other manufacturing facilities, the plants are no longer in operation, but they’ve found new life through a present-day artistic renaissance (it’s worth noting, too, that many decadesold manufacturers like SpringDot, Queen City Steel Treating Company, Meyer Tool, and Queen City Sausage continue to thrive. Camp Washington Chili, founded in 1940, is still a savory mainstay).

Tod Swormstedt, founder of the American Sign Museum and one of the Made In Camp founders, says Camp Washington today is “where art meets industry.”

“ ere’s a lot of industrial fabrication happening in the Camp, particularly in metal and plastic, which is some of the same ‘fabrication’ that artists use,” Swormstedt says. “ e artists and the factories are using the same materials, but obviously one is creating consumer goods and one is creating art.”

Swormstedt sees the American Sign Museum as a metaphor for where art meets industry: the museum collects and preserves commercial signs (made by fabricators) and presents them in a gallery setting (for artistic appreciation and education). at connection opens up larger conversations about the distinction between commercial art and ne art.

“I know it’s usually black and white, but I see some grayness in there,” says Swormtedt. “ e collaboration between ne artists and industrial fabricators, that’s kind of what’s behind the whole idea of Made in Camp.” e American Sign Museum will be o ering tours, opportunities to make your own sticker designs and conversations with local artist Gratia Banta.

Katherine Colborn is a Cincinnatibased artist who’s returning to Made In Camp after participating last year. She’s called Camp Washington home since 2020, operating out of Jessamine Studios alongside 11 other artists near

Colerain Avenue. Colborn says she wasn’t seeking out Camp Washington as an artistic base, but the a ordable rates mixed with the energy and closeness of the creative community have made it ideal. Last year for Made In Camp, Colborn set up a stamp-making station at Jessamine Studios for people to ink their own stamps. is year, she’s welcoming people into her workspace at Jessamine Studios and inviting conversations around her work. Colborn, a painter, will be exploring how ideas of threshold and sanctuary can exist simultaneously in the same space. “ ese events are so great for getting people interested and introduced to all of the creative arts in Cincinnati,” says Colborn. “When you get the opportunity to hop into an artist’s studio, it’s an intimate experience, and it’s also a N estled between Clifton and Fairmount and preceded by a century-long history of sort of kernel. It becomes a spark that maybe ignites interest in going to see other gallery shows or going to see the museum shows… It’s a great way to get manufacturing and production, today’s people interested in the arts because Camp Washington is teeming with those initial conversations with an artist creative energy. Artists, makers and can really open up a lot.”manufacturers have reimagined former A few blocks southwest of Jessamine factories and buildings as new spaces Studios, Hive13 will be o ering tours, for creation and innovation. activities and demonstrations in the

Many of them will open their doors to parking lot next to its building. e the public for tours and demonstrations creative space is encouraging people to for Made In Camp on Saturday, Oct. 8, consider music as a form of making, in from noon to 4 p.m. the spirit of DIY (“do-it-yourself”). Most

Now in its fth year, Made In Camp is notably, it will be holding demonstra-a free, neighborhood-wide open house tions of a Tesla coil, a high-voltage designed to connect the public with instrument that can make music by makers, artists, collectives and organi- changing frequencies. zations who have studios, galleries and Konstantinos Perentesis, Hive13’s workshops in the Camp Washington outreach committee chairperson, says community. e 2021 event included 34 Hive13 is a community workshop that participating venues along main roads provides resources like tools, hardware Colerain Avenue, Spring Grove Avenue, and equipment for makers.Perentesis Hopple Street and adjacent side streets. says their community includes artists, is year’s event is expected to feature metalworkers, welders, educators, a similar number of venues along the machinists and engineers. Unlike tradi-same route (as of press time, Wave Pool tional studio spaces, Hive13 members hasn’t announced a list of participating can access the facility 24/7. venues). Live music will be performed “As a community makerspace, we at CampSITE Sculpture Park, the strive to be not only a place where American Sign Museum and the Camp people can come and see what we do Washington Community Board; some but also, we can celebrate other makers of the musical artists include Static in our community,” Perentesis says. Falls, Fairmount Girls and All Seeing “Camp Washington has been a hub Eyes. Pizza will be provided at FLAG for makers for such a long time. We Studio by sculpture artist Joe Girandola. should be able to celebrate each other

Cal Cullen, executive director of and celebrate our work and be able to Wave Pool and one of the founders celebrate that this is Camp Washing-of Made In Camp, says the event has ton—we do such cool stu here. You grown consistently since its inaugura- should come, too.” tion in 2017. Its mission is to highlight the neighborhood’s artist and maker community, which Cullen says is very active but often “hidden from view.” “I want people who drive through Camp Washington each day on their commute to maybe think of the painters, welders, printers and carvers that are working within these buildings as they pass by, rather than thinking of them as vacant or underutilized, as perhaps many might before attending this event,” Cullen tells CityBeat. From the outside, Camp Washington (which residents often a ectionately referred to as “Camp” or “the Camp”) re ects aspects of its industrial past. e neighborhood was the center of Cincinnati’s pork industry in the early 20th century, employing thousands of residents at meatpacking plants. Like other manufacturing facilities, the plants are no longer in operation, but they’ve found new life through a present-day artistic renaissance (it’s worth noting, too, that many decadesold manufacturers like SpringDot, Queen City Steel Treating Company, Meyer Tool, and Queen City Sausage continue to thrive. Camp Washington Chili, founded in 1940, is still a savory mainstay). Tod Swormstedt, founder of the American Sign Museum and one of the Made In Camp founders, says Camp Washington today is “where art meets industry.” “ ere’s a lot of industrial fabrication happening in the Camp, particularly in metal and plastic, which is some of the same ‘fabrication’ that artists use,” Swormstedt says. “ e artists and the factories are using the same materials, but obviously one is creating consumer goods and one is creating art.” Swormstedt sees the American Sign Museum as a metaphor for where art meets industry: the museum collects and preserves commercial signs (made by fabricators) and presents them in a gallery setting (for artistic appreciation and education). at connection opens up larger conversations about the distinction between commercial art and ne art. “I know it’s usually black and white, but I see some grayness in there,” says Swormtedt. “ e collaboration between ne artists and industrial fabricators, that’s kind of what’s behind the whole idea of Made in Camp.” e American Sign Museum will be o ering tours, opportunities to make your own sticker designs and conversations with local artist Gratia Banta. Katherine Colborn is a Cincinnatibased artist who’s returning to Made In Camp after participating last year. She’s called Camp Washington home since 2020, operating out of Jessamine Studios alongside 11 other artists near Colerain Avenue. Colborn says she wasn’t seeking out Camp Washington as an artistic base, but the a ordable rates mixed with the energy and closeness of the creative community have made it ideal. Last year for Made In Camp, Colborn set up a stamp-making station at Jessamine Studios for people to ink their own stamps. is year, she’s welcoming people into her workspace at Jessamine Studios and inviting conversations around her work. Colborn, a painter, will be exploring how ideas of threshold and sanctuary can exist simultaneously in the same space. “ ese events are so great for getting people interested and introduced to all of the creative arts in Cincinnati,” says Colborn. “When you get the opportunity to hop into an artist’s studio, it’s an intimate experience, and it’s also a sort of kernel. It becomes a spark that maybe ignites interest in going to see other gallery shows or going to see the museum shows… It’s a great way to get people interested in the arts because those initial conversations with an artist can really open up a lot.” A few blocks southwest of Jessamine Studios, Hive13 will be o ering tours, activities and demonstrations in the parking lot next to its building. e creative space is encouraging people to consider music as a form of making, in the spirit of DIY (“do-it-yourself”). Most notably, it will be holding demonstrations of a Tesla coil, a high-voltage instrument that can make music by changing frequencies. Konstantinos Perentesis, Hive13’s outreach committee chairperson, says Hive13 is a community workshop that provides resources like tools, hardware and equipment for makers.Perentesis says their community includes artists, metalworkers, welders, educators, machinists and engineers. Unlike traditional studio spaces, Hive13 members can access the facility 24/7. “As a community makerspace, we strive to be not only a place where people can come and see what we do but also, we can celebrate other makers in our community,” Perentesis says. “Camp Washington has been a hub for makers for such a long time. We should be able to celebrate each other and celebrate our work and be able to celebrate that this is Camp Washington—we do such cool stu here. You should come, too.”

“As a community “As a community makerspace, we makerspace, we strive to be not strive to be not only a place where only a place where people can come people can come and see what we and see what we do, but also we do, but also we can celebrate can celebrate other makers in other makers in our community,” our community,” Perentesis says. Perentesis says.

Made in Camp runs noon-4 p.m. Made in Camp runs noon-4 p.m. Oct. 8 in Camp Washington. Info: Oct. 8 in Camp Washington. Info: wavepoolgallery.org/made-in-camp. wavepoolgallery.org/made-in-camp.