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JULIAN STANCZAK | OLD SCHOOL PHOTOGRAPHY | NOADA EXPO | the “PORN” in RUIN PORN | FRANK GREEN Cleveland Institute of Art Reinberger Galleries

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JULIAN STANCZAK | OLD SCHOOL PHOTOGRAPHY | NOADA EXPO | the “PORN” in RUIN PORN | FRANK GREEN Cleveland Institute of Art Reinberger Galleries A PUBLICATION OF THE COLLECTIVE ARTS NETWORK | CLEVELAND ART IN NORTHEAST OHIO | SPRING 2013 JULIAN STANCZAK | OLD SCHOOL PHOTOGRAPHY | NOADA EXPO | THE “PORN” IN RUIN PORN | FRANK GREEN Cleveland Institute of Art Reinberger Galleries Mar 29–May 4, 2013 Opening reception Fri Mar 29 6–8pm Beat Zoderer Bill Smith “As he uses vocabularies of historical “Invokes the wonderment of science in a constructivism, his works are reminiscent mad-scientist-tinkering-in-his-lab sort of way.” of the work of Mondrian, van Doesburg —The New York Times or Venet.” —Dominik Mersch Gallery Jenny Perlin Steve Roden “Her films are occasionally deceptively simple. “The unlikely pairing of the conceptual Even occasionally apparently clumsy.” and the tactile.” —International Film Festival Rotterdam —Los Angeles Times Reinberger Galleries Gallery Hours 11141 East Boulevard Mon–Thu 10am–5pm Fri 10am–9pm cia.edu Sat 10am–5pm ART IN NORTHEAST OHIO | SPRING 2013 A PUBLICATION OF THE COLLECTIVE ARTS NETWORK | CLEVELAND k A z C n A n St ia nd Jul A arbara B 1 03 | Welcome to CAN Journal 05 | CAN Members Report 38 | Honoring Julian Stanczak at CWRU 38 by Henry Adams ABOVE: (detail) Organic Flow, 42 | All the Rage: Analog Photography 2009, 24” x 24,” by Michael Gill by Julian Stanczak. 44 | The Nine: NOADA Expo, 2013 by Douglas Max Utter 48 | Dirty Art: The Porn in Ruin Porn by Anne Trubek 50 | Frank Greene by Lyz Bly 42 50 53 | ArtFace: Mindy Tousley Photo by Herbert Ascherman Jr. 54 | Events 56 | Members of the Collective Arts Network COVER IMAGE: Passing Contour, 1964, by Julian Stanczak. 60’ X 70” 48 collective arts network journal consolidated graphics THANK YOU Cleveland is a place where philanthropists give generously to a whole lot of causes. They have especially poured support into culture. Beginning with the industrialists and financiers who provided the funds to create The Cleveland Museum of Art and other legacy institutions, philanthropy has shaped the cultural life of the city. What you’re holding in your hands is evidence that such generosity continues in the 21st century. CAN Journal is made possible not only by the galleries that fill its pages, but also by the generosity of a company that has quietly become one of Cleveland’s great arts HOP ON FREE TROLLEYS TO EXPLORE, benefactors, Consolidated Graphics. EXPERIENCE, & CELEBRATE In fact, the company’s generosity is manifest all over CLEVELAND’S NEIGHBORHOODS. town, from the Cleveland Orchestra to Land Studio to Cleveland Public Theater, and dozens more. It was about a year ago that the East 40th Street company agreed to print CAN Journal free of charge for its first 2 year. This was a massive in-kind commitment, a value in excess of $60,000. Printing CAN Journal has been one of Consolidated’s largest gifts. It’s not the kind of thing a company does lightly. Indeed, as any nonprofit director knows, major sup- port is usually the result of long courtship that highlights a long track record. But even in CAN Journal’s infancy, Wally Lanci recognized that enabling the launch of a new media outlet —operated by and for the art community— would be an investment in the future of Cleveland’s arts dialogue. The gift of printing didn’t simply save CAN some money. It made this cooperative effort possible. As the Collective Arts Network and CAN Journal look forward to fulfilling the promise of that investment, FEB22THROUGHMARCH3. FEB22THROUGHMARCH3. please join us in extending profound thanks to Wally Lanci and Consolidated Graphics for getting us started along this path. Founder Editor Liz Maugans Michael Gill Designer Senior Account Executive JoAnn Dickey Carlos E. Ramos FEB22THROUGHMARCH3. FEB22THROUGHMARCH3. CAN Journal is a quarterly publication of the Collective Arts Network. The Collective Arts Network is a mem- bership organization of artists, galleries, and art orga- nizations working together, launched by Zygote Press SAVE THE DATE. Inc., 1410 East 30th Street, Cleveland, Ohio 44114. CONTACT Membership & editorial: [email protected] Advertising: [email protected] spring 2013 FOR THE RECORD, WE MEET AGAIN It’s commonly said that Journalism is a first draft of But CAN Journal isn’t only documenting what hap- history. If you look back at the journalistic record of pened. CAN and all its members are playing an active Cleveland’s art scene, you’ll see that a whole lot of role in the course of events, too. By creating our own exhibits—even the vast majority—have slipped out of media outlet, Cleveland art galleries and artists are memory, with no more announcement than a postcard, making history, as well as documenting it. and no enduring interpretation or documentation at all. The idea of galleries and organizations cooperating But if you look back at the first year of CAN Journal, in all our own best interest is a big deal. Of course you can see a pretty good record of what was going galleries compete with each other—for customers, on in the Cleveland art scene in 2012. That’s not to for the most desirable artists and shows, and in the say we’ve been comprehensive. Starting with our non-profit sector, for donors and foundation dollars. But first issue, though—an overview of member galleries the much bigger story is our whole industry’s competi- and their programs—this group has created its own tion against everything that is not art—everything that solid survey of what’s happening in the visual arts in draws attention and money and social energy away Northeast Ohio. from our efforts to engage people with beauty. The inherently competitive relationships within the art scene In each quarterly issue of CAN after that, dozens of are not nearly as important to our survival as the bigger 3 galleries told their stories about shows, previewing battle —to keep art generally in the public eye, to keep and documenting what’s been on and between their the discussion lively, and give it a bigger stage with a a FIRST DRAFt oF HISTORY walls, three months at a time. The result is not only that brighter spotlight. By working together to create CAN the galleries have created their own forward-looking Journal, members of the Collective Arts Network are media outlet, but also that, looking backward, if you taking the historic step of doing that. By helping to want a reference resource on Cleveland art events, write this first draft of Northeast Ohio art history, CAN CAN Journal is it. members are helping to ensure its future. It’s inspiring to consider that in the context of history. With all that in mind, We call your attention to everything Think what it will mean as the Collective Arts Network coming up in this Spring issue. You’ll find the nomination makes its way into the future: ten years from now—forty of Julian Stanczak for an honorary doctorate at Case issues down the road—CAN Journal will serve as a Western Reserve University; a look at new energy comprehensive retrospective of visual art activity in surrounding analog photography; a preview of NOADA the region, quarter by quarter, year after year. Not Expo 2013; an essay about what makes “ruin porn,” just a small percentage of shows chosen for review, and much more. We invite you to join us for our benefit but a broadly inclusive document. At the big galleries party June 29 at Convivium 33. Watch for details. And and the little ones. The ones that last, and the ones please look forward with me to making more history that come and inevitably go, but only after leaving their in our second year. mark on the scene. Michael Gill Editor collective arts network journal RIDE RTA TO TOWER CITY BAYarts Focus on John W. Carlson by nancy Heaton “In all my work I search for the core, that John combines traditional oils with alkalids, a fundamental requirement for work in all center of the thing, the emotional DNA if you charcoal and graphite. He works mostly on mediums: from painting to sculpture. read will. That thing which we respond to indi- large canvases, freely applying his medium more at johnwcarlson.blogspot.com. C t vidually but are ultimately all connected by.” without sacrificing subtle emotional details. villagE bAY is t ar This method allows control of the negative he t AWARD-WINNING artist John W. Carlson space, which is vital to the ambiguity that of esy credits the inspiration of artists such as runs through all of the work. What appears t R u Egon Schiele, Franz Kline, Edward Hopper to be a gentle gesture to some can appear co and Lucien Freud, which led to developing violent or passionate to others. A member his unique and recognizable style: a bal- of BAYarts faculty, John’s classes are a ance between expressive drawings and favorite of beginners and experienced art- boldly executed paintings. In his work, ists, with his strict emphasis on drawing as Figurative painting in oil and graphite by John W. Carlson. BaY arts classes with John w. carlson gallerY opening: the art 28795 Lake Road Figure Drawing: Beginner to Intermediate/Teens & Adults oF John w. carlson Bay Village, Ohio 44140 Proportion, movement, anatomy, quality of line and drawing technique will be explored. in the Sullivan Family Gallery AND 440.871.6543 Mondays 7–9pm beginning March 18 “BAYarts Students Figure drawing 5 Exhibit: from John’s classes in the bayarts.net Drawing: The Basics & Beyond Beginner to Intermediate/Teens & Adults dianne Boldman Gallery Composition, form, value, various media using challenging approaches. June 7, 2013 | 7:00–9:00 pm Wednesdays 10am–noon beginning March 20 collective arts network journal Heights Arts features Slankard, Curlowe, and a salute to the Cleveland Quartet S t is t ar clEvElaNd hEigHTS clEvElaNd he t of esy t R u co images ll A The Cavani Quartet reunites with former teachers, the original Cleveland Quartet violinists Peter Salaff and Donald Weilerstein.
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