CALL AND RESPONSE:Antonio Adams and John D. Ross.Opening June 15, 2019, reception 6 – 10 pm.Show closes July 31, 2019. Ross is an artist living in Indianapolis; Adams is the Thunder-Sky, Inc. Artist in Residence. They met each other recently, and now are creating works in response to each other’s oeuvre. Ross is a master of many media, but the works in this show are sculptures created from blocks of wood with a chainsaw. Adams, another master of multi-media, is responding to Ross’s work through drawings and paintings. The resulting exhibit will focus on how aesthetics thrive in response to someone else’s impulses and inspirations.
Inc. presents “Murder in a Small Town: John Auer, Emily Brandehoff, Megan Christ, Sarah Lalley, Christian
Schmit, and Evan Verrilli,” opening April 6, 2019, reception 6- 10 pm.
Show closes June 1,
The inspiration for this exhibition
is drawn from the life and career of Frances Glessner Lee, who was the first
female police captain in the United States and known for her painstaking
construction of the Nutshell Studies of Unexplained Death,
a series of 20 dioramas depicting actual crime scenes. In response to Lee’s
efforts, we’ve selected 6 artists to create work that either depicts a “scene
of a crime” or alludes to a crime scene.
The works include a variety of media, intentions, and inventions. Each artist has his/her own take on how visualizing
and conceptualizing “true crime” creates whole other avenues of though and
during the opening of the show a couple doors down, we will be sponsoring a
live script-reading of The Golden Girls, to accompany a show in the basement
and at The Comet of works by a plethora of artists from across the nation inspired
by and memorializing the classic sitcom.
The reading happens 6 – 8 pm at The Comet 4579 Hamilton Avenue Cincinnati 45223.
“Charlottesville: Works by Thomas Condon and Charlotte McGraw” opens Saturday 2/23/19 at Thunder-Sky, Inc. with a reception 6 – 10 pm.
The title comes from Charlotte McGraw’s painstaking collaged/painted/drawn works that detail a “Charlottesville” that isn’t about the 2017 “Unite the Right” rally that ended in bloodshed and division. In fact, Charlotte’s revision of that whole milieu is the point. Not an erasure but a collection of works that try to get at politics and decency without reverting to division, to stereotypes, to platitudes.
Thomas’ work as well has a mysterious and poetic ambiance, sculptures and other media put to use in a variety of cryptic yet somehow specific-because-they-are-cryptic ways. Like Charlotte, Thomas finds lyricism in the wasteland of politics and rants. Both artists create universes that transcend commonalities while embracing reality.
This is “Charlotteville” in reverse, created by 2 artists with almost nothing and yet everything in common. The essence of a “Thunder-Sky” show.
We are so happy to present “Charlottesville: Thomas Condon and Charlotte McGraw,” opening February 23, 2019, reception 6 – 10 pm. Show closes March 30, 2019.
Charlotte McGraw is an artist from Columbus, Ohio who has developed a vision and style all her own; Thomas Condon lives and works here in Cincinnati, focusing on the connection between meaning and perception. Both their approaches and visions help to create an alternate universe where kindness, mischief and imagination rule. Repurposing and collaging a variety of materials and ideas, they find satisfaction and salvation in reconfiguring the world around them into totems and images that symbolize ideas between shown than told.
Join us for a celebration of these 2 incredible artists, February 23, 2019.
“Art School” is often not about “art” and not about “school,” but about the ways people who are artists find their way to making what they need to make, either via teaching themselves, each other, or learning through some kind of institution. However they discover who they are and what they are supposed to make, this process seems to be about finding ways to convey what’s always been inside their brains and souls in the first place, externalizing and visualizing identity, ideas, obsessions. These 5 artists are completely disparate in age and other differences (including educational access), and even though they work through a wide variety or styles and approaches, their art and practices share a sense of both playfulness and seriousness, stylishness and succinctness.
These Are the Artists in “Art School”
Clint Basinger is an artist from
Owensboro, KY. Now living in Covington,
where he co-runs the Pique Art Gallery, with Lindsey Whittle, Annie Brown, and
Noel Maghathe. Clint was an art major at
Murray State University. After college,
while living on the family farm, he taught himself to write and draw comic
books. He has created over 30 comic
books, under his company Cosmic Moustache Comics. In Clint’s recent work, he’s taking old
family photos, and adding to their story.
The old Polaroids of family stories and legends are given new energy and
“Everything. I want them to see everything.” –Curtis Davis
The unifying forces in Curtis Davis’ work
are immediacy and joy. He produces art
daily at Visionaries and Voices studios daily committed to a painting process
and routine. His impulse to make art
results in an abundance of new paintings and drawings produced daily. In the case of drawings, they are made
quickly, intuitively, and with recurring symbols. Paintings typically take no more than two
days to complete. Sculptures are covered
in a layer of fresh paint everyday but continue to be re-worked for months or
years. New objects are added and then
paint applied on top. Over time, the
objects lose their meaning in the layers of paint and become echoes, replaced
by the sheer physicality and weight of paint.
When asked at what time he considers a sculpture finished he always
replies “when it’s done.” His personal
simplicities on life combined with his use of everyday materials create a
wonderfully poignant body of work that is always growing.
Malik Harris, 16 years old, is a
Cincinnati Public high school Junior at Hughes High School’s Zoo Academy. He is the youngest son of mother Kelly Isham,
grandson of Theresa Mosley, with older brothers Andre, Zion, and Ron. An accomplished musician, Malik has been
active for a number of years with the Music Resource Center-Cincinnati. He a member of both the Hughes High School
Drum Line and the Cincinnati Stars Drum Line.
Malik is first and foremost an artist, an interest he has been pursuing
since he was a very young child.
The leisurely act of floating in the pool
turned into an unconscious study of color and form. Confronted with a gridded
ceiling of lights, the repetitive architectural structure was initially the
point of attention but quickly moved to the afterimage that lingered behind
closed eyes. This optic reaction became the focal point of curiosity, exploring
the uncertain space of sight when one continues to see when the eyes are
closed. Disparate gradients of color are sourced from memory and tied to
specific moments in time and space, from a makeup palette to a dinner date’s
dress. The paintings depict a reoccurring motif of imperfect modular units
overlaid on a textured field of thickly applied paint. The images that linger
when the field of vision have supposedly come to an end are formless and
temporally obscure, which recall properties of painterly abstraction. -Sso-Rha
Kang More information: www.arvindsundar.com
Balloons have an inclination to bring about
positive associations; relating to celebratory times, memories of innocence,
and the idea of total freedom. There may be negative undertones arising from
the presence of these objects, they are fragile, and their ultimate emptiness
can result in emotions that revolve around loss and apathy. They are ephemeral
objects that are constant but also unpredictable. Depending on another for
their creation but in due time choosing their own demise, whether that be the
ending of their created purpose, their own sudden decision of departure, or
simply by having time take its toll. The human life-cycle is similar. The
balloons are contradictory objects, double-archetypes. They take up space but
are ultimately empty, they symbolize freedom but still eventually relinquish
life, bringing us joy when present but heartache when they escape our
My work re configures an object that is
defenseless and frail, changing it into something with permanence and
fortitude. Relating to experiences where one was emotionally damaged, and
in-turn built walls or defense mechanisms to protect oneself from further harm.
This was achieved by translating the objects form, a balloon, into a new
material, bronze or plaster, and replacing volume with mass – through the
various steps of pouring, mold making, wax work, casting, tig welding,
finishing, and polishing. These processes are used in my work to explore
questions regarding time, development, vigor, impermanency, and vulnerability.
For instance, taking a balloon and casting it out of bronze transforms the
object that is temporary and makes it permanent. Also, the extensive process
involved starts with an initial form that becomes completely lost but then
undergoes its own evolution from its emergence to completion. Inherently,
balloons are fragile temporary objects that exist in space only when one has
the intention for them to do so. When doing this it creates a connection
between the balloon and the person or thing that brought it to life. The action
of blowing up a balloon, or any inflatable, I see as a process of growth,
release, rebirth, and transference. Starting with breathing in which gives life
then exhaling to discharge what brings us life and pass it onto something else.
Humans relate to inflatables; breathing in to prime oneself, giving life,
optimism, and posterity. Then exhaling, which symbolizes a release of life,
coming of death. This simple performance creates a connection by relinquishing
a past part of yourself and instilling it into something else that one can
physically touch, see, and manipulate in space. Without the balloon as a vessel
this piece of us becomes lost and completely irrelevant. By casting these
objects in bronze or plaster, I am trying to monumentalize a previously
temporary object that will outlive time and carry on the connection that I
personally had with it.
We opened our doors the first time October 2009. This being our 10th season, we wanted to focus in on what we do and have done best. Always going small. That scale suits our main endeavor: keeping Raymond Thunder-Sky in the mix as much as possible. While his mission in life was developing his own artistic practice and living his life to pursue that unending goal, he did so in a very humble manner, without a lot of words or pomp. He was marginal in the most magnificent way. That’s what we strive for – the margin, on our own terms. The shows we’ve pulled together for our 10th anniversary season exemplify beautiful stubbornness, a willingness to pursue ideas and aesthetics to wherever they need to go. “Smallville” is where Superman’s alter ego, Clark Kent, grew up. In many ways, Cincinnati was and continues to be Raymond’s Smallville. He spent many years here as an alter ego, a construction-worker by day, a dreamy-eyed clown by night secretly compiling a dossier of visions and drawings that show a Metropolis being demolished, paving the way for the ultimate Fortress of Solitude.
ART SCHOOL: Clint Bassinger, Curtis Davis, Malik Harris, Arvind Sundararajan, and Ethan Waldeck. Opening January 5, 2019, reception 6 – 10 pm. Show closes February 15, 2019. Artists in high school, art school, and participating in the school of life shown side by side, with an emphasis on how practice makes perfect.
CHARLOTTESVILLE: Thomas Condon and Charlotte McGraw. Opening February 23, 2019, reception 6 – 10 pm. Show closes March 30, 2019. McGraw is an artist from Columbus, Ohio who has developed a vision and style all her own; Condon lives and works here in Cincinnati, focusing on the connection between meaning and perception. Both their works and visions help to create an alternate universe where kindness and mischief rule.
MURDER IN A SMALL TOWN: John Auer, Emily Brandehoff, Megan Christ, Sarah Lalley, Christian Schmit, and Evan Verrilli. Opening April 6, 2019, reception 6- 10 pm. Show closes June 1, 2019. The inspiration for this exhibition is drawn from the life and career of Frances Glessner Lee, who was the first female police captain in the United States and known for her painstaking construction of the Nutshell Studies of Unexplained Death, a series of 20 dioramas depicting actual crime scenes. In response to Lee’s efforts, we’ve selected 6 artists to create work that either depicts a “scene of a crime” or alludes to a crime scene.
CALL AND RESPONSE: Antonio Adams and John D. Ross. Opening June 8, 2019, reception 6 – 10 pm. Show closes July 31, 2019. Ross is an artist living in Indianapolis; Adams is the Thunder-Sky, Inc. Artist in Residence. They met each other recently, and now are creating works in response to each other’s oeuvre. The resulting exhibit will focus on how aesthetics thrive in response to someone else’s impulses and inspirations.
FRONKENSTEIN: A Retrospective of the Works of Robert Fronk. Opening August 10, 2019, reception 6 – 10 pm. Show closes October 4, 2019. Fronk has had an extensive career in a variety of media and venues. He currently lives and works in the Camp Washington area, and the exhibit will survey current works.
THE LAST PICTURE SHOW: Dale Johnson, Carla Knopp, Brigham Martin, Zach Schwab, and Brant Withers. Opening October 12, 2019, reception 6 – 10 pm. Show closes December 13, 2019. Works by a variety of artists who delve in appropriating and reconfiguring photographic works through collage, technology, and other means, each artist finding new ways to distort what some call “reality” and others call “dream” or “nightmare.”
The exhibition now at Northside’s Thunder-Sky, Inc. gallery through Aug. 3 is different from shows I’ve seen there recently. Indeed, it’s different from what I’ve usually seen here at our smaller, nonprofit alternative galleries — I think it’s a breakthrough.
Thunder-Sky, Inc. presents “Product Placement: A Variety of Works by Kevin Cascell, John Humphries, Paul Thie, Logan Walden, and Kevin White”, opening with a reception 6 to 10 pm August 11, 2018. The exhibit closes October 5, 2018.
All the artists in “Product Placement” have a vested interested in working through and reworking the materials and ideas they use and pursue. The artistic products they produce vary in shapes, sizes, techniques and approaches, but they all have a playfully aesthetic sense of subject matter and style. We’ll be honing in on all this beautiful disparity in the curating and installing of the exhibition as well, finding both themes and disjuncture among the works, in order to produce an art show that focuses in on placement just as much as product. Should be a showstopper.
Images: Top Paul Thie, “Sex Cam,” acrylic on unstretched canvas. Bottom John Humphries, “One Harmonic Module,” watercolor and wood on paper.
December 21, 2017 – Opening January 6, 2018, with a reception 6 to 10 pm, “Lalley! Lalley! Lalley!” features the Lallley family who live in Northern Kentucky and both as a family and individually make incredible art. The exhibit closes February 3, 2018.
According to Brian Lalley, father and husband, “People will hopefully leave the show with a great view of what it is like to live in our crazy art household!”
The artists in the show include Brian Lalley, Sarah Lalley (mother), Gavin Timmerman (17), Sage Lalley (14), Matthew Thomas (13), Jackson Lalley (6), and Ryder Lalley (6).
Says Brian, “Sarah and I produce a lot of work together very cohesively. We always try to encourage our children to participate or try things if they seem interested. Together or separate, there are always things being produced in the house.”
This show was inspired by the Lalley’s six-year-old autistic son, Ryder. As artists themselves, Brian and Sarah are amazed at his vision of the world he lives in and the amount of work Ryder produces. That prolificity generated the whole concept for “Lalley!” and also allowed the Lalleys to include all five of their children, who all have their own things to express as well.
Lay Off Me I’m Starving: Aesthetic Responses to Chris Farley opens October 14, 2017 (opening reception 6 to 10) at Thunder-Sky, Inc. Commemorating the 20th anniversary of Chris Farley’s death (12/18/1997), “Lay Off Me I’m Starving” invites artists from the region to contemplate Farley’s legacy as bombastic, slapstick clown, perennial people-pleaser, and tragic genius. On the exact date of his passing, we will be sponsoring a reading of literary works about him, as well as screen Tommy Boy, to close the show.
Type of works: All media, whatever you come up with. (Pictured above is a portrait of Chris, by Dion Hitchings, one of the first pieces we’ve received.)
Work drop-off: October 7, 2017, 1 to 4 pm, Thunder-Sky, Inc. 4573 Hamilton Avenue Cincinnati, OH 45223. PLEASE MAKE SURE you have a legible title, name of artist, and price attached to the work.