Francesco D’Orazio in Concert at Transformer Station
Presented by The Cleveland Museum of Art
Friday, December 9 at 7:30 pm
Violinist Francesco D’Orazio (b. Bari, Italy) was awarded the Premio Abbiati as Best Soloist of the year by the Italian National Music Critics Association in 2010. His large repertoire includes works ranging from early to classic, romantic and contemporary music. He is a favorite of many composers and premiered violin and orchestra works by Terry Riley, Michael Nyman, Ivan Fedele, Michele dall’Ongaro, Lorenzo Ferrero, Gilberto Bosco, Raffaele Bellafronte, Marco Betta, Nicola Campogrande, Fabian Panisello and Flavio Emilio Scogna.
D’Orazio has performed the Italian premiere of the violin concertos by John Adams (The Dharma at Big Sur for electric 6-string violin), Kaija Saariaho (Graal théâtre), Unsuk Chin, Luis de Pablo, Michael Daugherty (Fire and Blood), Aaron Jay Kernis (Lament and Prayer) and Michael Nyman (Violin Concerto no. 1). D’Orazio plays a violin by Giuseppe Guarneri, “Comte de Cabriac,” Cremona 1711.
$25, CMA members $22
Tickets are limited and can be purchased at The Cleveland Museum of Art box office or on-line.
Installation Authorized by Rainer Prohaska
On View Through January 4, 2017
"A parking violation is the act of parking a motor vehicle in a restricted place or for parking in an unauthorized manner." (Source: Wikipedia, the free encyclopedia)
Prohaska's work often uses found materials re-purposed with transgressive humor. This sculptural installation overturns our notions of sculpture and demonstrates the power of art to question our assumptions about the urban landscape and public space.
Rainer Prohaska is an Austrian conceptual artist who works in Berlin and Vienna. This work was commissioned by Transformer Station and conceived and installed by the artist during a three-month residency.
This project was made as part of the 2016 Fall Creative Fusion program, made possible with funding from the Cleveland Foundation, with promotional support from PNC Bank.
Transformer Station is pleased to host the Cleveland Museum of Art Staff Show. This selection of work from talented members of every department of the Museum will be free and open to the public during our regular visiting hours.
January 14 through April 30, 2017
Transformer Station is pleased to present the first solo museum show of UK artist Esther Teichmann. This multi-media exhibition blends photography, painting, found objects, video and music into an immersive environment.
Heavy the Sea takes us into an alternate orphic world, moving from beds to swamps and caves, from mother to lover, in search of a primordial return. Here, the photographic is loosened from its referent, slipping in and out of darkness, cloaked in dripping inks, bathed in subtle hues, evoking a liquid space of night.
Teichmann’s practice looks at the relationships between loss, desire and the Imaginary. Blurring autobiography and fiction, narratives emerge from photographic fragments, working across the still and moving image, sculpture and painting.
She dives into blackness. Hurtling into and through darkness, everything inside her breathes with strength and relief. She swims downwards and away from land, eyes open, seeing nothing, saltwater entering every pore.
Something is shifting, changing. Waters churn faster, a low rumbling building steadily from a far off place. Black clouds plunge this otherworldly stage into momentary darkness, their edges deep cyan and petrol blues, backlit as the moon’s spotlight re-emerges. Looking back towards land, she imagines him sleeping with abandon, a world away. Low groaning escalates into distant cracks of thunder. Slivers of light flash on the horizon with a precision and force that betray their seeming delicacy. She thinks of his scar, of the almost ecstatic joy spreading across his face as he told her of the night he swam in lightning.
The rolling waves turn violently, breaking rhythm, no longer a gentle embrace. She should leave now, return to the rapidly diminishing shore, come back to her body, her separateness, lie beside him as though she had never left. Reluctance lingers and she hesitates too long. Raised up, tossed and recaptured, dragged under by a raging weight, her body sags, resistance futile. Every part of her is penetrated, pummeled by the howling sea. She gives in to the fury, knowing that only then will it release her. The skies turn upside down and as suddenly as she had found herself drowning, she is now expelled, thrown towards land.
She lies motionless, half submerged, eyes closed, returning slowly. Rain pours down, washing the salt away. And still it clings to her, seaweed in hair, Medusa writhing.
Esther Teichmann grew up in southern Germany surrounded by lakes, rivers and forests. Her earliest memories are of being in and on water, sleeping in tents in thunderstorms and floating in canoes.
Teichmann received an MA and PhD in Fine Art from the Royal College of Art and lives and works in London. A monograph of visual works, Fulmine, and a book of essays, Falling – On Loss, Desire and the Photographic, will be published by Stanley/ Barker in 2017.
Zanetto by Pietro Mascagni
Friday November 11 at 7:30
A gem in the operatic repertoire, this one-act explores love, hope, suspicion, disappointment, and imperfection in one of Mascagni's most compelling scores. Staged and costumed with English translation projected. Duration 50 minutes.
Dorota Sobieska, soprano, as Silvia & stage director, & Megan Thompson, mezzo-soprano, as Zanetto
You will not want to miss this one time only performance at Transformer Station! Doors open at 7:00PM. Get here early, space is limited.
For more information, visit http://operacirclecleveland.org/zanetto
Saturday, September 17th, 11am-7pm
Transformer Station, 1460 W. 29th Street
Meet the Hingetown Creative Fusion Artists!
Transformer Station will be a stop on the “Green Line” for SPARX City hop. We’ll have music, the galleries will be open and visitors will have an opportunity to meet the local and international artists participating in the Fall 2016 Creative Fusion program. Pick up a map at the Transformer Station and explore the neighborhood to locate the mural sites. Ohio City residents Joe Lanzilotta (W. 29th and Church Ave), Erin Guido (W. 26th and Detroit Ave) and Mike Sobek (W. 28th and Church Ave) will be creating murals during the event. After party to follow at Jukebox.
Creative Fusion is made possible by generous support of The Cleveland Foundation.
Community engagement activities are made possible with generous support of PNC Bank.
Front International: Cleveland Exhibition for Contemporary Art
Associate Curator/Exhibition Manager
The FRONT Exhibition Corporation was formed in July 2016 to plan and produce the Front International: Cleveland Exhibition for Contemporary Art, a three-month exhibition of contemporary art, which will launch with various projects in 2017 and finds its conclusion with a public exhibition opening in July of 2018. Jens Hoffmann and Michelle Grabner have been appointed artistic directors and together they will develop a program that will feature local, national and international artists at venues and sites throughout Cleveland and vicinity. The artistic platform of the exhibition has been named “An American City” and it will use Cleveland as a case study to examine the relationship between local issues and their global connections and meanings.
In order to firmly plant the artistic program in Cleveland and to provide strong links and communication between artists from outside the region and the local artistic community, FRONT Exhibition Corporation is conducting a national search for a Curator/Exhibitions Manager for a two-year fellowship based in Cleveland to work with the Artistic Directors and The Executive Director to plan and produce this ambitious program. The FRONT Curatorial Fellowship has been made possible with generous support from the George Gund Foundation. Download full job description.
In which The American Dream melts slowly into nothingness.
Photo credit: Tatiana Ryckman
Tatiana Ryckman - Flavorwire
As Cleveland — and the rest of the country — released a collective sigh of relief at how peacefully Monday’s convention went, my grandfather fell asleep in California. He was 99 years old and he did not wake up Tuesday morning. This event makes as little sense in the narrative of my life as it does in the narrative of the RNC. But it was the lens through which I viewed Tuesday’s activities. And I wasn’t alone.
While the RNC has been peaceful, five people were killed and 20 people were shot in Cleveland last weekend, including a two-year-old, making it Cleveland’s deadliest weekend of the year. Each one of the victims’ friends and family members have had to negotiate the reality that’s left. My grandfather’s death was far from murder, it didn’t indicate a division between anyone’s ideologies or political leanings, but I was faced with reconciling my sudden lack of interest in what was happening around me with my belief that this is a unique opportunity for engagement. Read More...
Innov Gnawa is a young musical collective dedicated to exploring Morocco’s venerable gnawa music tradition in the heart of New York City. Formed in the summer of 2014 by Moroccan expat Samir LanGus, the group draws on the considerable talents and expertise of Hassan Ben Jaafer, a Maâlem, or master gnawa musician, originally from Fes, Morocco. Gnawa music is the ritual trance music of Morocco’s black communities, originally descended from slaves and soldiers once brought to Morocco from Northern Mali and Mauritania. Often called “The Moroccan Blues,” gnawa music has a raw, hypnotic power that has fascinated outsiders as diverse as writer/composer Paul Bowles, jazz giant Randy Weston, and rock god Jimi Hendrix. The music is utterly singular, played on an array of unique instruments—from the lute-like sintir that the Maâlem uses to call the tune, to the metal qarqaba (castinets) with which the kouyos (chorus) keep time and pound out clattering, hypnotic rhythms. Innov Gnawa makes great use of this traditional repertoire, and add their own, contemporary spin with additional African and Latin percussion.
Ohio City Stages is presented by Cleveland Museum of Art. Read More...
Laura DeMarco - Plain Dealer
CLEVELAND, Ohio – The American Dream was melting Tuesday.
Literally. After all, it was 86 degrees outside. And this American Dream was made of ice.
The 4,000-pound "Melted Away" ice sculpture by New York artists Nora Ligorano and Marshall Reese was a provocative statement on the state of the nation, "highlighting the erosion of opportunity and social equality."
It was one of several thought-provoking artworks created in response to the Republican National Convention on display Tuesday at the Transformer Station gallery in Cleveland's emerging Hingetown neighborhood.
A rendering of “The American Dream,” an ice sculpture that will reach its melting point in Cleveland this week during the Republican convention.
In 2008, when the artist Shepard Fairey created the graphically striking “Hope” portrait to support Barack Obama’s presidential campaign, it seemed as if a rich tradition of American political imagery reaching back at least to the middle of the 20th century — on posters, buttons, bumper stickers — was still very much alive. The art critic Peter Schjeldahl called the “Hope” poster “epic poetry in an everyday tongue.”
But as the 2016 campaign season enters the nominating stage — the Republican National Convention opens on Monday in Cleveland; the Democratic National Convention follows the next week in Philadelphia — no image even approaching the power or reach of Mr. Fairey’s poster has emerged. (The wordless silhouette of Bernie Sanders’s sensible glasses hovering beneath his rebellious white hair might have been the punchiest attempt.) Read More...
On July 19, while the Republican National Convention convenes close by, Transformer Station will be a forum to discuss the role of art and artists in politics.
CLEVELAND- The Transformer Station welcomes artists Kate Sopko, LigoranoReese, Elizabeth Emery and Corrie Slawson, the Cause Collective, and the City Club of Cleveland for a day of art, politics and the American Dream.
Starting at 10:00 am, catch The Fixers, a collaborative film series that highlights the democratic process, public policy, and aptly asks the question: “Who should tell Cleveland's story during the 2016 RNC?” Conceived by Cleveland artist Kate Sopko with filmmakers Robert Banks, Angela Beallor, Chelsie Corso, Tom Laffay, Elizabeth Press, and Paul Sobota, this film series, comprised of six twenty minute clips, follows six Clevelanders invested in urban vitality and social equity on tours they would give RNC delegates, if given the chance. The Fixers will play on loop in the Crane Gallery from 10 am - 6 pm. Read More...
We are pleased to welcome Caitie Moore as our new Gallery Manager. Caitie will replace Danielle Meeker, who has been with the museum since it opened in 2013. Danielle leaves us to pursue graduate studies at Rice University, Houston. Caitie, a graduate of the Savannah College of Art and Design, comes to the Transformer Station with over five years of experience working in the arts and non-profits. Her background is in photography with a focus on photobooks. Caitie additionally runs a non-traditional photobook store called Nomadic Bookshelf and is passionate about evolving trends in independent publishing. “Fred and Laura’s dedication to their artists and their vision for arts in Cleveland is one that is very dear to my heart. I look forward to advancing the museum’s mission to bring cutting edge arts and cultural events to Cleveland and beyond.” We thank Danielle for her prowess and dedication to the museum and wish her the best of luck with her new venture! Read More...
Underbite, 2014. Jon Pestoni (American, born 1969). Oil and mixed media on canvas; 103 x 78 in.
Look at any one of Jon Pestoni’s funky abstract paintings by itself and you’re likely to miss the point. Luckily, this small survey offers thirty-one works that demonstrate the value of repeating oneself and the playful charge between repetition and difference. In Underbite, 2014, a brushy rectangular field of royal purple fills the center of the canvas. Obscuring the shapes below it, only brief passages of color show through its veil. At the edges we get snatches of figuration, such as leaf and tooth shapes described by graphic black outlines. To the right of that painting Accordion, 2015, features a similarly dark monochrome blind permitting only gasps of the same jubilant palette of pink, teal, and yellow. In both, a gritty kitty-litter surface flattens the illusion of depth suggested by the layers of composition.
In Inner Tube, 2015, we see Pestoni’s formal binaries side by side, rather than one atop the other, as they often appear. A laterally brushed column of purple stands beside a looping pink, yellow, powder-blue, and white, cartoonish ribbon. The two figures occupy the foreground and announce their difference. The artist’s distinct pictorial elements are layered like ingredients in a sandwich. As they stack, the canvas is hardly ever filled edge to edge, leaving frayed suggestions of what lies beneath, like bits of paper escaping from a haphazard file folder. The rehearsal of techniques and motifs continues in the cover-up of Replica, 2013, giving one the impression that Pestoni never wants to stop painting, especially when things start looking good.
- Grant Johnson
Formed in the wake of the 2010 earthquake in Haiti, Lakou Mizik is a diverse collection of musicians representing a cross section of generations, faiths and musical styles. The nine members range in age from late sixties to early twenties and come from across Haiti’s musical, social, religious, and geographic spectrum. Each has a powerful story to tell: the young poet who survived a ferry disaster that claimed up to 1500 lives—floating in the ocean for 3 days on the back of a bloated cow carcass before being rescued; the church singer whose home was destroyed in the earthquake and whose Christian faith led her to initially resist singing vodou lyrics; the elder statesman of racine, or roots, music whose deep knowledge of vodou rhythms makes him a living encyclopedia of Haitian culture; the guitarist and singer seeking to emerge from the shadow of his famous father and define his own musical legacy. While each member of Lakou Mizik has a unique tale to tell, they stand united in a mission to honor the healing spirit of their collective culture and communicate a message of pride, strength and hope to their countrymen and world.
Ohio City Stages is presented by Cleveland Museum of Art. Read More...
Debo Band is a large ensemble led by Ethiopian-American saxophonist Danny Mekonnen and fronted by charismatic vocalist Bruck Tesfaye. Since its inception in 2006, the band has won raves for their groundbreaking take on Ethiopian pop music (think Ethiopiques), which incorporates traditional scales and vocal styles, alongside American soul and funk rhythms, and instrumentation reminiscent of Eastern European brass bands. Debo Band has received broad critical praise from The New York Times, Rolling Stone, Pitchfork, and NPR, who placed the band’s debut album—produced by Thomas “Tommy T” Gobena of Gogol Bordello—on their “50 Favorite Albums of 2012” list.
Ohio City Stages is presented by Cleveland Museum of Art. Read More...
The Cleveland Museum of Art celebrates summer with Ohio City Stages. These block parties, now in their fourth season, feature acclaimed global music artists on a neighborhood stage outside the Transformer Station on West 29th Street.
Select Wednesdays in July at 7:30 p.m. FREE
July 6: Debo Band (Ethiopia)
July 13: Lakou Mizik (Haiti)
July 20: no concert due to RNC
July 27: Innov Gnawa (Moroccan Blues)
Concerts take place at the intersection of West 29th and Church Street. Parking is available on the adjacent streets and in the Lutheran Hospital parking lot.
Artists LigoranoReese are down two 4000 pound sculptures carved in ice spelling out the words The American Dream during the Republican and Democratic conventions in Cleveland and Philadelphia – their most dramatic public artworks to date.
Transformer Station, July 19, 2016, Cleveland, Ohio
Steve Litt - Cleveland Plain Dealer
CLEVELAND, Ohio – The newest addition to the ongoing Red Line rapid transit public art blitz creates the illusion that a small and diverse army of anonymous Clevelanders is holding up the roof of the station platform at Tower City Center.
To create the work, Cleveland photographer Peter Larson set up a photo booth at the station last month and asked transit riders to volunteer to be photographed with their arms straight overhead and their palms pressing upward as if they were carrying a huge imaginary load.
Larson then had the enlarged black-and-white photographs printed on sheets of vinyl so they could be stuck to the station's white ceramic tile columns in a process that involves pressure, and heat from a torch.
Colton Gravo of Brand Installers Inc., based in Canal Fulton, which carried out the installation Tuesday and Wednesday, said it should last 10 years.
The project is both playful optical illusion and a visual metaphor about the role that residents play literally and figuratively in supporting the city.
"It's very ennobling," said philanthropist and art collector Fred Bidwell, who conceived the project and who chose Larson to carry it out. "It doesn't look goofy or gimmicky. I love the dignity of those portraits." Read More...
By Steven Litt, The Plain Dealer
CLEVELAND, Ohio - The public art blitz along the city's Red Line rapid transit line is scheduled to continue this coming weekend with a photographic installation at Cleveland Hopkins International Airport station that mashes together past and present.
Technicians are set to install 50 images of local residents on Saturday and Sunday made by Houston-based artist Keliy Anderson-Staley, using a photographic technique popular during the 19th century.
A 38-year-old assistant professor of photography and digital media at the University of Houston, Anderson-Staley uses an 8-by-10-inch view camera with a vintage lens to produce images on sheets of blackened aluminum coated with light-sensitive chemicals.
A variant of the same process, known as wet collodion, was used by Matthew Brady, who photographed Abraham Lincoln, and Julia Margaret Cameron, who shot portraits of eminent Victorians. Nineteenth-century photographers made collodion photographs with glass plates, or tin, called tintypes.
Anderson-Staley is part of the contemporary movement aimed at reviving historical techniques.
Cleveland Scene Magazine
Built in 1924, the building now known as Transformer Station was originally one of 16 substations built by the Cleveland Railway Company. Noted local architect John Williams oversaw the building's renovation and expansion. A collaborative effort between the Bidwell Foundation and the Cleveland Museum of Art, its programming is shared equally by the museum and founders Fred and Laura Bidwell. Located in Hingetown, Transformer Station serves as the museum's first footprint on the west side. With an emphasis on contemporary photography, Transformer Station has brought fresh artists and groundbreaking work to Northeast Ohio since opening in early 2013. The CMA's programming continues this spring with Jon Pestoni: Some Years.
Transformer Station is pleased to announce that our Electric Vehicle charging station is now fully installed and open for business. Owners of all types of electric vehicles can use this Level 2 fast charging station which is part of the nrg EVGo Network, the largest network of EV charging stations in the U.S. Read More...
Steve Litt - Cleveland Plain Dealer
CLEVELAND, Ohio – You can't tell time by looking at the lush, colorful, visually engaging paintings of Jon Pestoni, now on view at the Transformer Station galleryin Ohio City in an exhibition presented by the Cleveland Museum of Art.
By telling time, I don't mean figuring out the hour of the day, but identifying a particular cultural moment by how an artwork fits into a chronological and historical sequence.
Born in 1969 and based in Los Angeles, Pestoni makes paintings that incorporate numerous stylistic qualities of 20th century abstraction from Cubism and Abstract Expressionism to Color Field painting and beyond.
By Josh Usmani - Cleveland Scene
Photo: Replica, 2013. Jon Pestoni (American, born 1969). Oil on canvas; 182.9 x 121.9 cm. The Cleveland Museum of Art.
Last month, the Cleveland Museum of Art announced the acquisition of a painting by Los Angeles-based painter Jon Pestoni. The purchase of Pestoni’s Replica was especially noteworthy because it was the first museum acquisition for Pestoni, who has been painting in LA for the past two decades.
The CMA will showcase Pestoni’s work at Transformer Station from April 22 through July 10. Replica will be included in the exhibition, Jon Pestoni: Some Years, along with more than 30 additional works. Some Years opens with a public reception from 6 to 8 p.m. Friday, April 22. Pestoni will be in the gallery for the reception.Some Years is Pestoni’s first museum solo exhibition. Read More...
Replica, 2013. Jon Pestoni (American, born 1969). Oil on canvas on board; 72 x 48 in. (182.9 x 121.9 cm). The Cleveland Museum of Art, Sundry Art-Contemporary Fund 2016.5. Image courtesy of the artist, Real Fine Arts, New York, and David Kordansky Gallery, Los Angeles. Photography: Lee Thompson.
Saturday, April 23, 2016, 2:00 p.m.
Los Angeles–based painter Jon Pestoni and Beau Rutland, assistant curator of contemporary art, discuss the artist’s work and the status of contemporary painting in conjunction with the exhibition Jon Pestoni: Some Years at Transformer Station. This is Pestoni’s debut solo exhibition at a museum.
Free, no reservations required.
By MARK SATOLA - Cleveland Plain Dealer
CLEVELAND, Ohio -- The Calder Quartet concluded its two-year, four-concert residency at Transformer Station Thursday with a short but impressive program presenting two works requiring intense concentration on the parts of both performers and listeners. Read More...
Sat, 04/23/2016 to Sun, 07/10/2016
Underbite, 2014. Jon Pestoni (American, born 1969). Oil and mixed media on canvas; 103 x 78 in.
(261.6 x 198.1 cm). Collection of Laurie Ziegler. Image courtesy David Kordansky Gallery, Los Angeles and Real Fine Arts, New York. Photo: Fredrik Nilsen.
The Los Angeles-based painter’s first solo museum exhibition opens at the Transformer Station, featuring paintings made during the past five years. Pestoni’s bold work is comprised of many layers, revealing how and why each brushstroke was made. Ranging from intimate to monumental scale, Pestoni’s paintings will be joined by works on paper and a suite of watercolors making their exhibition debut.
The Cleveland Museum of Art is generously funded by Cuyahoga County residents through Cuyahoga Arts and Culture. The Ohio Arts Council helped fund this exhibition with state tax dollars to encourage economic growth, educational excellence, and cultural enrichment for all Ohioans.
Thu, 03/31/2016 - 7:30pm to 9:30pm
“The Calder takes its place as one of America’s most satisfying—and most enterprising—quartets.” —Mark Swed, Los Angeles Times
Since its first performance on the museum’s series seven years ago, the Calder Quartet has achieved international success while deepening its relationship with Cleveland, including performances with the Cleveland Orchestra as part of the “California Masterworks” series, and being named quartet in residence at the Oberlin Conservatory of Music. Already the choice of many leading composers to perform their works—including Christopher Rouse, Terry Riley and Thomas Adès—the group’s distinctive approach is exemplified by a musical curiosity brought to everything it performs, whether it’s Beethoven, Mozart, Haydn, or sold-out rock shows with bands like the National or the Airborne Toxic Event. Winners of the 2014 Avery Fisher Career Grant, the group continues to work and collaborate with artists across musical genres, spanning the classical and contemporary music world, and in venues ranging from art galleries and rock clubs to Carnegie and Walt Disney concert halls. To hear one of the most exciting string quartets at the height of its powers is a rare thrill.
Anders Hillborg, Kongsgaard Variations
Beethoven, String Quartet No. 14 in C-sharp minor, Op. 131
Tom Persinger is a Pittsburgh artist, writer, and founder of F295, an international organization of photographers interested in conceptual approaches to technique and process in photography. Persinger created a triptych installation for “UNFIXED: The Fugitive Image” called PAST/FUTURE PRESENT. With this work, Persinger deconstructs the life cycle of the medium. In Past, the developer has already been fixed in the dark blue of cyanotype, while the site of a potential photograph is outlined in Future. Present, which has been sensitized with chemicals but not yet fixed, has been changing slowly throughout the course of the exhibition, evolving from canary yellow to green to bright blue and darkening to blue-grey. The large “fugitive” work invites infinite contemplation, as it changes constantly in minute ways. In the artist’s words, “We can empty ourselves into the abyss, yet it is never full.”
On April 3rd, the last day of the exhibition, Persinger will return to discuss his work and artistic practice and fix Present with a public performance that encloses the work in parentheses, a record of the exhibition’s duration. Read More...
Author: Douglas Max Utter - CAN Journal
Fred and Laura Bidwell’s Transformer Station Museum is a particularly savvy instance of contemporary design, and simultaneously a study of fading history. Originally a streetcar power substation dating from 1924, the well-made and now restored original building is supplemented at the west end by a new minimalist structure of about the same size. It looks intriguingly like one thing hooked up to another – maybe the past plugged into the future.
Unfixed: The Fugitive Image, an exhibit curated by Fred Bidwell, and on view at Transformer Station through April 3, 2016, is a further study of impermanence and the uses of fading histories. Consisting of images produced by twelve contemporary photographers and video artists with a variety of cameras and techniques on surfaces ranging from metal plates to diaphanous, curtain-like swathes of fabric, it’s a conceptually and didactically oriented exhibit about encroaching absence, or the very fleeting nature of presence. Read More...
"UNFIXED: The fugitive image" at the Transformer Station
By Christopher Alexander Gellert for love, -j.
“The contingency of photography confirms that everything
is perishable; the arbitrariness of photographic evidence
indicates that reality is fundamentally unclassifiable."
Look on my Works, ye Mighty, and despair!
Nothing beside remains...
-Percy Bysshe Shelley, “Ozymandius”
I’m almost hesitant to label “UNFIXED: The fugitive image” as a photography exhibition. The show, currently on exhibition until April 3 at the Transformer Station (the Cleveland Museum of Art’s West Side annex), resists traditional assumptions about photos as pictures. Instead, it asks us to approach photography, and video, as a process that does not immortalize, but like all things inevitably dies. That death is written into the works encourages us to treat them as living objects, to find beauty in their movement, meaning in their brief passage, as in our own. Read More...
Saturday March 12, 2 pm
Dr. Kate Albers will speak about her study of the ephemeral photograph in the context of “UNFIXED: The Fugitive Image” a group show of work by contemporary photographers now showing at Transformer Station.
Kate Palmer Albers is Assistant Professor in the Art History Division, with a speciality in the History and Theory of Photography. Prior to joining the UA faculty, she taught at the Massachusetts College of Art and Boston University, and held curatorial positions in the photography departments at the Fogg Art Museum in Cambridge, MA dn the Los Angeles County Museum of Art. Her book, Uncertain Histories: Accumulation, Inaccessibility, and Doubt in Contemporary Photography (University of California Press, 2015), addresses the limits of photography's ability to narrate the past andargues that doubt and inaccessibility can generate a space for a productive uncertainty that is as culturally valuable as information and clarity. Read More...
Zachary Lewis - The Plain Dealer
CLEVELAND, Ohio – Music critics love to call concerts unforgettable. In this case, however, I'm not exaggerating.
That's because the performance Tuesday by the JACK Quartet at the Transformer Station wasn't strictly a (brilliant) musical or even auditory event. It was an all-encompassing, multi-sensory physical experience.
Never in the concert hall have I worked so hard. Sitting for an hour in the dark – in the complete absence of light – through Georg Friedrich Haas' String Quartet No. 3 required the sort of stamina more commonly demanded by "Stretching Out," my fitness column.
But the effort was worthwhile. In the darkness, the JACK players cleansed our minds and ears, leading me and a handful of Cleveland Museum of Art patrons across an absorbing, prismatic soundscape they wouldn't have been able to conjure in the light. Read More...
By Josh Usmani, Cleveland Scene
Anonymous, Untitled, circa 1953-1960, Kodacolor print Courtesy Collection of Peter J. Cohen
Transformer Station 1460 West 29th St., 216-938-5429transformerstation.org
This weekend, Transformer Station presents its first exhibition of 2016, Unfixed: The Fugitive Image. Unfixed features artists who explore the fleeting nature of life and reality through representational, photographic imagery designed to fade and deteriorate over time — sometimes even across the course of the exhibition. The exhibit opens Friday with a members preview from 5 to 6 p.m. Artists Françoise and Daniel Cartier will present a free public lecture at 6:30 p.m., and a reception will follow. Some of the images will fade into oblivion just hours after Friday's opening reception. Read More...