Letter from the Editor

ÆQAI resumes its regular monthly edition with this September issue.  We welcome everyone to a new and fresh fall art season, and are pleased to offer a number of reviews, essays, profiles and special guest columns.  The entire visual arts community is now preparing for the region-wide celebration of photography, fotofocus, which runs through all of October; some shows begin in September, and there are parties and celebrations galore:  check their website, www.fotofocuscincinnati.org for all your questions.

But September’s offerings are diverse and fresh and sophisticated.  Karen Chambers gives us two articles:  she reviews the astonishing new mural commissioned by Kroger’s in O-T-R, a joint project between ArtWorks and the hugely gifted Cincinnati artist Jonathan Queen, represented here by The Miller Gallery. (We think that it is one of the most successful examples of public art in America).  Chambers also reviews a ceramic/decorative arts show at l305 Main Street, the
wonderful eclectic gallery steered by Lily Mulberry.  Shawn Daniell gives us a look at the burgeoning art scene in Rabbit Hash, less than an hour’s drive from Cincinnati.

New ÆQAI writer Stephen Slaughter reviews a performance by Charles Woodman and other musicians/performers at semantics gallery in the West End; he examines the relationships between performers, the audience, and the spaces in and amongst them.  Fran Watson writes eloquently of Stuart Fink’s new work at Brazee Street Studios in Oakley.

ÆQAI also welcomes Jonathan Kamholtz as a regular contributor; we asked him to begin by selecting a work of art from the permanent collection of the Cincinnati Art Museum, and his musings and analysis of a painting by Guernico are wise and astute, as Kamholtz has always been in his critical writings.  Look for his criticism in future issues of ÆQAI.  Guest columnist Jay Zumeta, who has been teaching criticism at The Art Academy of Cincinnati for decades, offers his insights into what criticism is; we think that this is an extremely important essay and hope that many read it and give it serious thought. Amanda Adams, who now lives in Virginia, reviews two shows there in her first Letter
from Virginia.

Jane Durrell has written a very insightful profile of photography pioneer Walt Burton, a long-time photography dealer and photographer himself; Burton has generated a fair share of controversy over the years, but his own work and thoughts and opinions are well worth reading, and Durrell has captured the man’s creativity well. ÆQAI is reprinting my own memoir, “Summers in Connecticut with Marilyn Monroe”, which was originally published in a now defunct political blog and picked up by Weston (Conn.) Monthly as its cover story in 2005; Monroe was then married to playwright Arthur Miller, and the couple were near neighbors of ours in Conn.  We offer it in honor and memory of the 50th anniversary of her death, as her fame continues to grow and the woman to fascinate us.  We also offer my book review, a look at Martin Amis’ new novel.

Maxwell Redder, another new ÆQAI writer, reviews the Sol LeWitt show at Carl Solway Gallery, examining the conceptual underpinings of LeWitt’s work as well as its formalist components.  Redder, an accomplished poet, will begin a monthly column called Maxwell’s Poetry Corner, and ÆQAI will ongoingly publish his poems.  Let us know what you think about this addition.

Keith Banner reviews the exhibition at The Dayton Art Institute with his usual aplomb.  And Dustin Pike continues his fascinating analysis of the nature of design, examining the numbers l through zero; this month he meditates about the number five.  This is an ongoing series.

ÆQAI is also regularly posting news items and events around the community, so check our site regularly, as there are lots of calls for entries from around the world for artists.

We hope that you will take a minute and click on and subscribe; it’s free and helps us organizationally and structurally.  As always, we welcome your comments and thoughts.

Daniel Brown
Editor, ÆQAI

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