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Pakistani-American artist Anila Quayyum Agha recently won the Cincinnati Art Museum’s coveted Schiele Prize. Learn about this up-and-coming artist and how you can see her light-based installation now on view.


Anila Quayyum Agha (b. 1965), All the Flowers Are for Me (Red), laser-cut lacquered steel and lightbulb, 60x60x60 in, Alice Bimel Endowment for Asian Art, 2017.7

Pakistani-American artist Anila Quayyum Agha has been named the recipient of Cincinnati Art Museum’s 2017 Schiele Prize. This prize honors the legacy of Marjorie Schiele, a Cincinnati artist whose generous bequest of the Hanke-Schiele Fund makes this award possible.

Agha’s All the Flowers are for Me (Red) is the first purchase with the museum’s new Alice Bimel Endowment for Asian Art.

The museum’s recent acquisition is a five-foot laser-cut steel cube displayed suspended from the ceiling and lit from within. Light emanates from the red lacquered cube, enveloping the gallery in intricate shadows that ripple and change as visitors move through the space.

Inspired by Islamic architectural forms, the geometric and floral patterns cast upon the walls, floor and ceiling create an immersive experience.

“Anila Quayyum Agha’s artworks create interactive environments imbued with beauty and textured meaning. Her works are both contemplative and exhilarating to behold,” said Ainsley Cameron, Cincinnati Art Museum’s new Curator of South Asian Art, Islamic Art & Antiquities. “All the Flowers are for Me (Red) reflects the museum’s mission to support our community by inviting all people to come together and participate in this shared gallery experience.”

Cameron Kitchin, the Cincinnati Art Museum Louis and Louise Dieterle Nippert Director, said: “We are honored to present Anila Agha the Schiele Prize for her dedication to creating culturally-relevant, conversation-starting art. The Hanke-Schiele Fund has allowed us to give special recognition to one of the most captivating working artists today. In addition, through the generosity of the Bimel family, we have the privilege of adding this visually stunning work to our permanent collection and displaying it for the entire community to view.”

Agha’s light-based installations have been exhibited nationally and internationally in more than 20 solo shows and 50 group shows. She currently resides and works out of Indianapolis.

Born in Pakistan in 1965, Agha moved to the United States in 1999 and, in 2004, completed her MFA in fiber arts at the University of North Texas. In 2008, she moved to Indianapolis to take up a professorship at the Herron School of Art & Design/ IUPUI.

Agha began experimenting with large-scale installation works in 2010, and in 2012 received a New Frontiers Research and Travel Grant from Indiana University. Her travels inspired a profound shift in her artistic practice. In 2013, Agha created Intersections—her first laser-cut steel work—to explore the design of the Alhambra Palace through abstraction and transmitted light. Intersections was awarded the Public Vote Grand Prize and split the Juried Grand Prize at the 2014 ArtPrize competition in Grand Rapids, MI.

The exhibition is free to the public from June 17–October 15. Photography is encouraged. On social media use #anilaincincy #anilaquayyumagha.

The museum will celebrate the exhibition’s final days during Cincinnati’s BLINK celebration, an experience of light, street art, murals and live performance spread across 20 blocks of downtown Cincinnati from the Banks to Findlay Market, October 12–15.

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Put on your petticoat, polish your handlebar mustache and get ready to travel back to the 1890s! Our art guru gives us the inside scoop on this Friday’s fun event.


Celebrate Art After Dark: Cin City as the Cincinnati Art Museum celebrates the “naughty nineties.”

Experience the sights, sounds and tastes that exemplify the Queen City in the “naughty nineties” at the Cincinnati Art Museum’s Art After Dark: Cin City, a FREE evening event on Friday, May 26, 5–9 p.m.

Cin City will feature live music from The Hot Magnolias, dance performances from Pones, food for purchase from Graeter’s Ice Cream, The Chili Hut and Terrace Café, specialty cocktails for purchase (guests 21+), and after-hours access to the museum’s permanent collection and special exhibitions including:

Powerful film installation More Sweetly Play the Dance by contemporary South African artist William Kentridge.

Celebrated exhibition Tiffany Glass: Painting with Color & Light with Tiffany windows and lamps that highlight the contributions of Tiffany Studio artists.

Join local author, historian and blogger Greg Hand (former University of Cincinnati Associate Vice President for Public Relations) for Cincinnati in the “Naughty Nineties,” featuring a narrated visual exploration of a decade when Cincinnati really was “Cin City” at 6 p.m. and 8 p.m. in the Fath Auditorium. These free lectures look at Cincinnati’s somewhat-seedy past thanks to Cincinnati Magazine (celebrating their 50th anniversary). The magazine’s May issue takes a look at modern-day Cincinnati After Dark.

Art After Dark is a family-friendly event featuring FREE admission and parking. To learn more, visit Art After Dark is presented by PNC. Additional sponsors include CFM, WVXU and CityBeat.


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Our art guru explains how a local lady and her contributions to the arts inspired the Cincinnati Art Museum to honor her in a special way. Read on for more.


Alice Weston was awarded with the 2017 Cincinnati Art Award by the Cincinnati Art Museum.

Alice Weston received Cincinnati Art Museum’s 2017 Cincinnati Art Award for her lifetime contribution to the arts in Cincinnati and beyond. The museum honored Weston at its annual Director’s Circle Dinner on April 26.

Weston is a renowned Cincinnati contemporary art collector, educator, collaborator and artist, who, along with her late husband, Harris, created an ongoing legacy of philanthropy and support of the arts in Cincinnati.

Cameron Kitchin, the museum’s Louis and Louise Dieterle Nippert Director said, “The Cincinnati Art Museum is proud to recognize Alice for her decades of generosity and civic vision in the arts. Her commitment to the museums and cultural institutions of Cincinnati, and the artists of our time, has made an indelible impact on our city. Alice is an inspiration to us all.”

At the Cincinnati Art Museum, Weston is a current Trustee, a member of the Director’s Circle of the Founders Society, New Century Society, and Shareholder. Cincinnati Art Museum’s Gallery 303 is named The Alice F. and Harris K. Weston Gallery in honor of the Westons, who have supported the museum’s contemporary collection since the late 1980s.

Weston is a lifetime member of the Contemporary Art Center’s board of trustees and a member of the Cincinnati Symphony Orchestra’s board of overseers. She is namesake of the Alice F. and Harris K. Weston Art Gallery at the Aronoff, which has showcased contemporary art for more than 20 years.

In 1969, as an art patron of John Cage while he was the composer-in-residence at the University of Cincinnati, Weston prompted Cage to create his first visual artwork, Not Wanting to Say Anything About Marcel. Since that time, Weston has connected artists, collectors, composers, musicians and art patrons in innumerable ways. One of Weston’s landmark collaborative pieces, the video work Crystal Clues to the Sublime, is a new acquisition to the permanent collection of the Cincinnati Art Museum. Weston is a graduate of Vassar College and the University of Cincinnati’s DAAP graduate program.

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What is American folk art? Who creates it and why? Discover the answers to these questions and more at the Cincinnati Art Museum’s upcoming exhibition.


(Wedding of the Turtle Doves) Attributed to John Scholl (1827–1916), United States, The Wedding of the Turtle Doves, 1907–15, white pine, wire and paint, 37 x 24 x 17 in. (93.9 x 60.9 x 43.1 cm), Courtesy of the Barbara L. Gordon Collection

View an exceptional presentation of American folk art at the Cincinnati Art Museum with A Shared Legacy: Folk Art in America, June 10–September 3.

Comprised of more than 100 pieces made between 1800 and 1925, including approximately 60 works from the celebrated collection of Barbara L. Gordon and 40 regional loans, this is the largest representation of historical American folk art in the history of the museum.

A Shared Legacy celebrates art rooted in personal and cultural identity and made by self-taught or minimally trained artists. Created for ordinary people rather than society’s upper tier, folk art was the prevalent art form in the United States for more than a century.

The exhibition showcases the extraordinary imagination and powerful design of American folk artists, some acclaimed and many unknown. Made primarily in New England, the mid-Atlantic and the Midwest, the works in the exhibition illuminate a vast diversity of expression, from paintings, sculpture and furniture to trade signs, samplers and ceramics.

Iconic works by Edward Hicks, Ammi Phillips and other well-known artists are featured in the selection of paintings, which includes vivid still lifes, landscapes and portraits. Exuberantly painted furniture and fraktur (decorated manuscripts) from German American communities are an exhibition highlight.  

(Rabbit) Attributed to the Dentzel Company; possibly Salvatore Cernigliaro (1879–1974), United States, Rabbit Carousel Figure, circa 1910, basswood and paint, 57¼ x 50 x 13 in. (146.1 x 127 x 33 cm), Courtesy of the Barbara L. Gordon Collection

The objects on loan from collectors in the Cincinnati region celebrate the great enthusiasm for folk art in the area. They range from portraits and carved animals to quilts, furniture and other items designed to enhance one’s everyday surroundings and routine. A number of Ohio-made pieces are featured, as well as an early American rooster weathervane and a pair of Maine portraits by John Brewster, Jr. that are recent donations to the museum’s permanent collection.

A Shared Legacy exemplifies the preservation of personal and cultural identity in America. All of the works in the exhibition reflect the breadth of American creative expression during a period of enormous political, social and cultural change.

Julie Aronson, curator of American Paintings, Sculpture and Drawings at the Cincinnati Art Museum, and Amy Dehan, curator of Decorative Art and Design, lead the exhibition in Cincinnati.

“With its unique combination of the stellar works acquired by Barbara L. Gordon and the equally fine examples from the regional community, the Cincinnati presentation of A Shared Legacy is a tribute to the collectors’ eye for quality, love of history and dedication to preserving the creative expression of everyday Americans,” said Aronson.

“A Shared Legacy builds on the Cincinnati Art Museum’s dedication to preserving and presenting the best examples of folk art for our community,” said Dehan. “These works tell a vibrant, multi-cultural, American story, and given the range of extraordinary objects in this exhibition—many colorful, whimsical, and light-hearted—it holds an appeal for visitors of all ages, tastes and backgrounds.”

This exhibition will be on view in the Western & Southern Galleries (G232 and 233). As a companion to the exhibition, the museum presents American Folk Art Watercolors and Drawings, a display of rarely seen works from the permanent collection, from May 6–September 17, in the Albert E. Heekin and Bertha E. Heekin Gallery (G212). Other intriguing selections from the museum’s expanding folk art collection are on view in the PNC Gallery (G219).

A Shared Legacy: Folk Art in America is drawn from the Barbara L. Gordon Collection and is organized and circulated by Art Services International, Alexandria, Virginia. It made its debut at the American Folk Art Museum in New York City and was recently featured at the Nelson-Atkins Museum of Art, the Memphis Brooks Museum of Art and the Nevada Museum of Art. Accompanying the exhibition is a full-color catalog co-published by ASI and the international publishing firm SKIRA/Rizzoli.

The Cincinnati Art Museum’s display of A Shared Legacy is presented by Fund Evaluation Group and LPK.

Special exhibition tickets required for admission. All ticketed exhibitions are free for museum members. Non-members may purchase tickets at or at the museum. $10 ticket for adults; $5 for children ages 6–17 and college students with ID. Other discounts available.


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Our art guru shares how you can celebrate Cinco de Mayo this year with the Cincinnati Opera at the Cincinnati Art Museum! Keep reading for all the colorful details!


Cincinnati Opera and the Cincinnati Art Museum have teamed up for Via la Frida May 5!

Need plans for Cinco de Mayo? Look no further, because Cincinnati Opera and the Cincinnati Art Museum have teamed up for Viva la Frida! A Cinco de Mayo Fiesta. Read on to learn more about this festive event!

Join the Cincinnati Art Museum Emerging Leaders Council and Cincinnati Opera Center Stage in celebrating the life of Mexican artist Frida Kahlo. With a festive evening of Mexican cuisine from Mazunte, music and dancing on Cinco de Mayo (Friday, May 5) from 6–9 p.m. at the Cincinnati Art Museum, Viva la Frida is going to be a fiesta!

Guests are invited to pay tribute to the vibrant life of Frida Kahlo in preparation for Cincinnati Opera’s company premiere of Frida in June. The Cinco de Mayo-inspired festivities include self-guided tours through Cincinnati Art Museum’s special exhibitions and exclusive after-hours access to the museum’s permanent collection.

Tickets are $5 in advance at or call 513-768-5520; $10 at the door. Free parking. All bars and food vendors will accept both cash and credit cards. Must be 21 or older to purchase tickets.

About Cincinnati Opera’s Frida production:

Based on the life of iconic Mexican painter Frida Kahlo, Robert Xavier Rodríguez’s 1991 opera is as “emphatic and bold” (Opera News) as the artist herself. Cincinnati Opera’s production was celebrated by the Detroit Free Press for its “dramatic intensity and immediacy.” Singing the title role is Catalina Cuervo, whose performance won rave reviews: “Cuervo doesn’t just play the role, she embodies it. Never was there any doubt that she was Kahlo personified” (The Detroit News). Cincinnati Opera presents Frida at the Aronoff Center for the Arts June 23, 25, 27, 29, July 1, 6 & 8.


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The Cincinnati Art Museum is welcoming three new curators. Our art guru sat down with each to learn more about them and their big plans for the future.


The Cincinnati Art Museum has appointed Ainsley M. Cameron as Curator of South Asian Art, Islamic Art, and Antiquities; Peter Jonathan Bell as Associate Curator of European Paintings, Sculpture and Drawings; and Nathaniel M. Stein as Associate Curator of Photography.

“Ainsley, Peter and Nathaniel are exciting scholars who are making significant contributions to their respective fields of study,” said Cameron Kitchin, the museum’s Louis and Louise Dieterle Nippert Director. “I am pleased to welcome them to the museum and to Cincinnati, where they will join a collaborative curatorial practice and interpretation team. In concert with our comprehensive strategic plan, the growth of our curators’ research, exhibitions, collections and teaching benefits the entire community.”

Ainsley Cameron, Curator of South Asian Art, Islamic Art and Antiquities at the Cincinnati Art Museum.

Ainsley M. Cameron, Curator of South Asian Art, Islamic Art and Antiquities

Dr. Ainsley Cameron is the Cincinnati Art Museum’s new Curator of South Asian Art, Islamic Art and Antiquities. In this position, she will oversee acquisitions and collections from South Asia (a geographic region that includes India, Pakistan, Bangladesh, and Sri Lanka), Nepal and the Himalayan region, as well as Iran and Afghanistan. Through lectures, exhibitions and scholarly publications, Cameron will further research on the museum’s permanent collection, as well as liaise with the community with public programming and teaching. Cameron was most recently the Ira Brind and Stacey Spector Assistant Curator of South Asian Art at the Philadelphia Museum of Art.

Cameron’s exhibition and catalogue project at the Philadelphia Museum of Art (PMA), Drawn from Courtly India: The Conley Harris and Howard Truelove Collection, provided an in-depth foray into the drawing practice at the courts of north India. She was also the curator-in-charge of digital initiatives in the reinstallation and reinterpretation of the PMA’s South Asian art galleries, which opened in October 2016. Previous curatorial appointments included roles at the British Library, the British Museum, and the Victoria & Albert Museum, making Cameron familiar with a wide range of South Asia’s artistic production, especially from the 16th century onwards.

Cameron completed her doctorate at the University of Oxford in 2010. She also holds an MA from the School of Oriental and African Studies at the University of London, and a BA in Archaeology and History from the University of Toronto.

“This is an opportunity to redefine CAM’s engagement with these collections on a regional, national and international scale, a process I am excited to participate in. I look forward to working with my new colleagues to explore the intricacies of the collection, the institution and this beautiful city,” Cameron said. She begins in Cincinnati in early May.

Peter Bell, Associate Curator of European Paintings, Sculpture, and Drawings at the Cincinnati Art Museum.

Peter Jonathan Bell, Associate Curator of European Paintings, Sculpture and Drawings

As Associate Curator of European Paintings, Sculpture and Drawings at the Cincinnati Art Museum, Peter Bell will be responsible for the stewardship and development of the museum’s extensive holdings of European paintings, sculpture and all works on paper excluding prints and photographs. In this role he will lecture and write on art history, curate European art exhibitions and permanent collection galleries, and engage with the community through museum programs and by managing the museum’s Friends of European Paintings, Sculpture and Drawings group.

Bell comes to Cincinnati from the Metropolitan Museum of Art where he is Assistant Curator in the department of European Sculpture and Decorative Arts. There he has been responsible for Italian and Spanish sculpture, ceramics and glass, and European medals. He has researched and presented these collections, augmented them through acquisition and collaborated on conservation projects.

At the Met he co-curated the exhibitions Antonio Canova: The Seven Last Works (2014) and Tullio Lombardo’s Adam: A Masterpiece Restored (2015), and recently curated Renaissance Maiolica: Painted Pottery for Shelf and Table (2016–2017). He was lead curator for the design, construction and permanent installation of the Met’s Venetian Sculpture Gallery (2015).

Bell is a fellow of the American Academy in Rome. He received his undergraduate degree from Oberlin College in Ohio and a master’s degree from the Courtauld Institute of Art, University of London. He is expected to complete his doctorate from the Institute of Fine Arts, New York University, this spring.

“I am thrilled to join the Cincinnati Art Museum and contribute to its impressive record of scholarship, acquisitions and exhibitions. It is particularly exciting to come to this august institution at a time of new growth in exhibitions and programming, and expanding public access and visitor engagement. CAM boasts one of the great collections of European art in the Midwest, one that is known and admired across the world. I look forward to advocating for these paintings, sculptures and drawings—artworks that can be as vital and relevant for Cincinnati today as they were in Europe 500 years ago—and to deepening our understanding of the important traditions they represent.” Bell starts at the end of May.

Nathaniel Stein, Associate Curator of Photography at the Cincinnati Art Museum.

Nathaniel M. Stein, Associate Curator of Photography

In his role at the Cincinnati Art Museum, Dr. Nathaniel Stein will be responsible for the stewardship, interpretation, and development of the museum’s extensive holdings of photographs. He will curate photography exhibitions, conduct and publish research on works of art in the museum’s permanent collection, engage the community with innovative programming, lead acquisitions and manage the museum’s Friends of Photography group.

Stein comes to Cincinnati from an appointment as the Horace W. Goldsmith Fellow in Photography at the Philadelphia Museum of Art. In Philadelphia he organized exhibitions and wrote on internationally established figures Wolfgang Tillmans and Rineke Dijkstra, emerging African-American and Jamaican artists Andre Bradley and Paul Anthony Smith, and contemporary photographers working in or about South Asia, among many other projects. While his curatorial focus is on contemporary photography, Stein has a deep background in the earlier history of the medium. His doctoral dissertation dealt with photography in 19th-century India.

Stein holds a master’s degree and doctorate in the History of Art and Architecture from Brown University and a bachelor’s degree in the History of Art from Wesleyan University. Prior to his position at the Philadelphia Museum of Art, he held fellowships, lectured, performed curatorial roles, and taught the history of photography at institutions including the Yale Center for British Art, the Victoria & Albert Museum, the Philadelphia Photo Arts Center, and the Rhode Island School of Design.

“I’m thrilled that my family has been invited to join the CAM family, and for the opportunity to get to know Cincinnati’s dynamic photography community,” said Stein. “The museum’s photography program already reflects a history of dedicated curators, collectors and supporters. We’re in a strong position now to continue to honor the core traditions of the medium while also thinking openly and creatively about how to engage with a wider world. I think we can seize the moment, and I’m looking forward to getting started.” He will join the museum in late April.

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There’s a new exhibition at the Cincinnati Art Museum that opens up a colorful new world. Read on for more.


Tiffany Glass: Painting with Color and Light is now on display at the Cincinnati Art Museum.

Trained as a painter, Louis C. Tiffany, son of Charles Tiffany and founder of Tiffany & Co., was attracted to glass as an artistic medium for its unique ability to capture and convey color, light, and texture. I met with Cincinnati Art Museum Curator of Decorative Arts Amy Dehan to learn more about the history behind this colorful new exhibition.

Fascinated by the rich and varied tones and expressions in medieval 12th-and-13th-century leaded windows that relied solely on colored glass, and not the addition of stain or paint to create images, Louis C. Tiffany sought to create his own modern “paintings” with glass. In doing so, he resurrected and revolutionized the art of leaded glass windows and later, with the introduction of the incandescent lightbulb, created magnificent lampshades—small, portable versions of his windows for the domestic interior.

Tiffany’s achievements in the creation of leaded glass windows and lampshades were the combined result of his development and fabrication of an amazing variety of new types of glass and the careful selection and use of that glass to “paint” or convey an idea and image.

Beginning in the mid-1870s, Tiffany initiated pioneering examples in glassmaking. Sheets of thick, milky, opalescent glass with folds, wrinkles and ripples were developed for the articulation of drapery and angel wings. Flat glass speckled with thin pieces of broken glass called “fract,” aptly called confetti or foliage glass, was created to portray trees or brush in the distance of a composition. Luster glass, a highly reflective, iridescent flat glass, was used to depict metallic surfaces, such as a knight’s armor.

Often, multiple pieces of glass in different textures and colors were laid, or plated, over one another to create just the right effect. These new glass types and techniques were developed to avoid the use of paint and brush on glass, which, in Tiffany’s view, “produces an effect both dull and artificial.” Artists at Tiffany’s studio resorted to painting on the glass only when absolutely necessary—usually when depicting faces, hands and feet. The work’s primary composition and expressions relied solely on the material itself.

It is important to note that Tiffany’s accomplishments were realized through the innovation, work and talent of many men and women working under his direction. Glass chemist Arthur Nash worked tirelessly, developing original formulas and processes to create the vast palette of colors and artistic effects in sheet glass that Tiffany desired. Agnes Northrop, lead female artist at Tiffany Studios, designed almost all the firm’s floral and landscape windows, earning international recognition through her work. And Clara Driscoll, a native of Tallmadge, Ohio, led the Women’s Glass Cutting Department, supervising a team of women charged with the key responsibility of selecting and cutting the glass for Tiffany’s windows, mosaics and lampshades. Driscoll, too, received national attention for her designs.

Tiffany Glass: Painting with Color and Light is drawn from the Neustadt Collection, formed by visionary collectors Dr. Egon and Mrs. Hildegard Neustadt. Austrian immigrants, the Neustadts bought their first Tiffany lamp in the 1930s at an antique shop for $12.50. Deemed out of fashion at the time, the lamp fascinated the Neustadts and ignited their lifelong passion for the art of Louis C. Tiffany and Tiffany Studios.

The Neustadts amassed an incredible collection of leaded glass windows, lampshades and bronze desk sets. In 1967, they acquired the vast inventory of opalescent sheet glass and glass “jewels” that remained at the Tiffany Studios when it closed in the late 1930s. This collection has played a critical role in scholarship surrounding the revolutionary materials, methods and techniques employed by Tiffany and his team.

Visit Tiffany Glass: Painting with Color and Light April 1-August 13, 2017 in G214, G216 and G224 at the Cincinnati Art Museum. Admission is free.


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Exciting changes are in store as the art museum ramps up visitor experience through an innovative gallery redesign. Read on as our art guru gives us a sneak peek inside.


Schmidlapp Gallery from Summer 2016, featuring temporary exhibition mural (Kehinde Wiley (b. 1977), United States, Sleep, 2008, oil on canvas, Rubell Family Collection, Miami)

Anyone who’s visited the Cincinnati Art Museum has likely traveled through the Schmidlapp Gallery, the art-filled walkway that connects the lobby to the museum’s Great Hall. Thanks to a generous $1 million grant from Jacob G. Schmidlapp Trusts, Fifth Third Bank, Trustee, along with additional financial support from the State of Ohio, an innovative redesign of this centralized gallery is currently underway. The renovations will allow the community to connect with art, engage in focused study of collections, and provide orientation and connection to the historic Bimel Courtyard.

The design for the new Schmidlapp Gallery focuses on its position as a central architectural artery essential to every museum visit. The renovation will invite visitors to pause, converse, linger and discover highlights of the museum’s collection.

The integral features of the plan include the addition of a courtyard wall of windows for natural light, seating to encourage congregation, individual looking lounges and detailed curatorial interpretation around singular artworks, and the installation of Saul Steinberg’s cherished large-scale “Mural of Cincinnati.” New floors, lighting and state-of-the-art temperature and humidity controls will be part of this revitalization.

Cameron Kitchin, the museum’s Louis and Louise Dieterle Nippert Director, notes that the plans incorporate new interpretive and visitor research and reflect the museum’s comprehensive 2016–2020 strategic plan. “The Schmidlapp Gallery will be welcoming and immediately embrace the needs of contemporary visitors. These changes will provide innovative modes of art learning incorporating our collections. The vibrant and accessible space will be modern and look to the future while honoring our past.”

Cincinnati companies emersion DESIGN and Monarch Construction have been contracted for this project. The renovation will be completed by the end of 2017. Installation of artworks, interactive technologies, and other features will be added in early 2018.

Although changes to the space will be significant, care is being taken to minimize visitor impact during the construction period. The Schmidlapp Gallery will be closed for one day, on Friday, March 3, to complete the final stages of removing the artwork from the gallery space. A selection of bronze sculptures will be temporarily relocated to the Great Hall.

A temporary wall is being erected along the west side of the Schmidlapp Gallery and will remain in place until mid-June. During this time, the space will be open as a walkway and partial gallery. The space will remain ADA-compliant and allow room for wheelchair and stroller access. From mid-June through early September 2017, the museum plans to close the space and detour visitors through the Hanna Wing.

The Schmidlapp Gallery is one of the most used spaces within the museum. The Schmidlapp Gallery has recently been used to feature “icons” drawn from the museum’s permanent collection including Warhol, Monet and Degas. Prior to October 2011, it showcased the museum’s Antiquities collection.

The Cincinnati Art Museum first opened its doors to the public in 1886, making it one of the oldest art museum buildings in the country. The Emma Louise Schmidlapp Wing, which includes the Schmidlapp Gallery, opened in 1907. It was designed by Chicago architect Daniel H. Burnham in the Doric temple style.

The museum has experienced numerous expansions and renovations since its original construction. Many aspects of the most recent Cincinnati Wing and Make Room for Art renovation projects successfully drew on the same architectural principles to be used in the Schmidlapp Gallery renovation, putting visitor experience, inspiration and orientation at the center of the project.

The museum’s Great Hall was renovated in 1993 and the main lobby in 2014. The renovations in the Schmidlapp Gallery will connect these spaces and create more opportunities for learning, exhibition, congregation, conversation and comfort.

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Join the Cincinnati Art Museum at the must-attend event of the summer featuring wine tastings, delectable local food, live music, and a silent auction - all while supporting a charitable cause.


The Art of Wine will be held Friday, June 16 at the Cincinnati Art Museum.

It’s a summer favorite with a new twist! Cincinnati Art Museum’s 27th annual food and wine event is now A Taste of Duveneck presents: The Art of Wine sponsored by Dewey’s Pizza, on Friday, June 16, 6-9 p.m.

The new name draws attention to the event’s wine-focus with samples available for tasting and fine wine for sale at the silent auction, along with other popular items. Also new, guests can experience exclusive access to the entire museum, including special exhibitions.

In addition to an extensive assortment of premium and sparkling wine, The Art of Wine also includes a variety of craft beer, Cincinnati’s best gourmet food and live music by the Naked Karate Girls.

The event will feature bites from dozens of vendors including the BonBonerie, Eli’s Barbeque, Palomino, Eddie Merlot’s Steakhouse, Quan Hapa and many more in the Great Hall and outdoors in the Alice Bimel Courtyard. Dance the night away as local cover band the Naked Karate Girls plays all of your favorites. This event-of-the-summer is one you truly won’t want to miss!

This year, all proceeds from The Art of Wine will help fund one of the museum’s premier family programs, Family First Saturday. Family First Saturday takes place the first Saturday of each month and features family entertainment, gallery scavenger hunts and art-making activities for kids of all ages. It is one of the most important visual art programs in the city and serves thousands of families.

In its first 26 years, the event has raised millions of dollars for the Cincinnati Art Museum.

Early bird tickets are $55 per person and are available in limited quantities through April 16, 2017. General admission tickets are $85 per person. Donor opportunities are available. For more information, please contact or (513) 639-2962.

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Cincinnati Art Museum’s Curator of Prints Kristin Spangenberg, shares what makes the new exhibition that accompanies Dressed to Kill so special.

Transcending Reality: The Woodcuts of Kōsaka Gajin is a new exhibition at the Cincinnati Art Museum.

Transcending Reality: The Woodcuts of Kōsaka Gajin is the first major exhibition of the artist’s work in the United States. The Cincinnati Art Museum’s Howard and Caroline Porter Collection is the largest repository of Gajin woodcuts outside Japan.

Gajin was a student of Japanese and Western-style painting and an art educator with enthusiasm for the intuitive work of children. The artist wanted his work to “transcend reality.” He lovingly recorded the beauty of Japan’s landscape and architectural monuments in a way that is modern in its individualized expression, not unlike the era’s “action painting” in the West.

Among Gajin’s favorite subjects, explored in great variation, were Mount Fuji, temples and trees such as The Great Japanese Cedar. With minimal lines, he created bold forms that were printed on un-sized paper.

In April 1945, when Gajin’s home studio in Tokyo was destroyed, he moved to Sendai, returning to the city in 1949. Although he first took up printmaking in 1922, the woodcuts Gajin executed during his last decade of life were praised by a contemporary art critic as “works of art definitely bearing the stamp of novelty and originality.”

Featured alongside Transcending Reality is Dressed to Kill: Japanese Arms and Armor, an in-depth look at Japanese Samurai culture and arts from the 16th–19th centuries. Joint tickets allow entry to both special exhibitions.

All ticketed exhibitions are free for museum members. Non-members may purchase tickets at or at the art museum. $10 ticket for adults; $5 for children ages 6–17 and college students with ID. Other discounts available.