Big Shoes to Fill

Photos: Andy Dobson

Eric Appleby (bass, keyboards, toy piano, tap) was a co-founder, publisher, and designer of “Forklift, Ohio: A Journal of Poetry, Cooking & Light Industrial Safety.” He has designed poetry books and chaps for authors including Dean Young, Charles Wright, Paul Violi, Chad Sweeney, Adam Fell, Russell Dillon, and Matt Hart. A graduate of Ball State University, he works as a Computer Whisperer Marketing Hack for a regional wholesaler. He plays in the bands Nevernew, 7 Speed Vortex, and TRAVEL.

Nick Barrows (narrator) is the host of the Inhailer Radio's programs, “Kinda Early” and “In.Local.” He is a vocalist in the bands Jack Burton Overdrive and Hare Hunter Field. He has been performing poetry for more than 25 years, from Kaldi’s Coffee House to Word of Mouth at MOTR Pub. His words have appeared in “Forklift, Ohio: A Journal of Poetry, Cooking, & Light Industrial Safety” and several Aurore Press anthologies.

Jane Carver (keyboardist, vocals), a graduate of the Art Academy of Cincinnati, she is an adjunct professor at Bowling Green State University. Her artistic practice includes fabrication in wood, ceramics, metal, plastics, and found objects, drawing, photography, set design and construction, as well as writing, music composition, and production.

Matt Hart (vocals, guitar) was a co-founder of “Forklift, Ohio: A Journal of Poetry, Cooking, & Light Industrial Safety” and editor-in-chief from 1994–2019. The head of creative writing at the Art Academy of Cincinnati and faculty mentor in the PNCA/Willamette University Low-Residency Creative Writing MFA Program, his awards include a Pushcart Prize, a grant from The Shifting Foundation, and fellowships from the Bread Loaf Writers' Conference. Hart’s music has been featured on MTV and in major motion pictures, including Kevin Smith’s “Mallrats.” He plays in the post-punk/indie rock bands Nevernew and Travel.

Jay Reynolds (multi-instrumentalist) has been playing woodwinds since he was 12 years old and he’s loved every minute of it. A graduate in saxophone studies from both the prestigious Interlochen Arts Academy and The University of Cincinnati College-Conservatory of Music. From playing as a session musician alongside artists like Bootsy Collins, to touring with bands like 10-time Grammy Award winners Asleep At The Wheel, he has played either sax, flute, or clarinet in literally every style of music.

Christian Schmit (percussion and sound effect specialist) is a graduate of the Art Academy of Cincinnati in 1994 and has a master of fine arts from the College of Design, Architecture, Art and Planning (DAAP) at the University of Cincinnati. He has served as an adjunct faculty member at U.C. – DAAP’s School of Art and AAC. His work has featured in exhibitions in venues including Eva G. Farris Art Gallery at Thomas More College, the Carnegie Arts Center, Wave Pool, and Weston Art Gallery. His work is represented in numerous private collections.

(Note: For the purposes of his story, a “Shoe” can be a poem, a musical composition, or a performer. Just go with it.)

Founded in the late ’90s by longtime collaborators Eric Appleby and Matt Hart, The 50 Shoes are a mix of spoken-word poetry, genre-defying music, dance performance, and visual art.

On Friday, for the first time in more than 20 years, The 50 Shoes are reuniting for a one-night-only performance at the Weston Art Gallery.

Michael Goodson, director of the Weston Art Gallery, has begun to bring in more performances including the Mark Lomax Quartet playing John Coltrane’s “A Love Supreme” in honor of its 60th anniversary and Puzzle of Light playing a set including massive sound sculptures.

“Hart’s poetry was suggested to me as I spoke to people about including writers and poets to the programming,” says Goodson “Our first conversation made it clear that we had similar interests in music as well. The 50 Shoes seemed a clear interstitial moment between punk and poetry. It also seemed to be an interesting portal into Cincy’s historied punk and alternative scene.”

Hart and Appleby have played in bands together – punk and otherwise – for more than 30 years, and also published “Forklift, Ohio: A Journal of Poetry, Cooking, & Light Industrial Safety,” for 20 years. The other band members – Jane Carver, Jay Reynolds, and Christian Schmit – have played with both Hart and Appleby in other bands, as well as in numerous other musical projects on their own. (See sidebar.)

“We’ve all known each other for decades, and it's fun doing something out-of-the-ordinary, which is itself beyond-out-of-the-ordinary,” says Hart.

The origin story of The 50 Shoes dates back to a discussion about the artistic process between Hart and Schmit, a visual artist and Shoes’ percussionist.

Schmit recounted his thoughts about drawing the perfect shoe. Even if he got it right the first time, he still needed to erase and re-draw the shoe another 49 times because as an artist he wanted to try every idea.

Inspired by that concept and tribulation, Hart wrote 50 short poems that, he says, were all trying to do the same thing but couldn’t. Then Appleby, in a spirit of collaboration – and, admittedly, a bit of one-upmanship – decided to set each poem to music.

“It's been fascinating, sometimes humbling, to try on these pieces we originally wrote and performed in our 20s, and wear them at our current age,” says Appleby. “A Shoes performance always felt precarious – if only by the numbers – doing 35 pieces, trading off among a dozen instruments, and each one a different mood, style, or genre.”

Every performance includes a recitation of the poem by Hart before exploding into a song – melodic, noisy, jangly, shanty – composed by Appleby.

The musical elements include Schmit’s hand-assembled percussion rig, tap dancing, toy piano, accordion, saxophone, bass, and guitar. The players often switch instruments and on occasion abandon them completely.

“As with all art, these pieces are significantly a record of their own making, and each performance of them is a demonstration of the process,” says Hart. “The pieces are in many ways still alive, evolving moment to moment.”

While poetry and music can be often solitary endeavors, a group of dedicated musicians and friends, contributed music and sounds to Appleby’s original concepts. Through improvisation and, of course, trial and error, the Shoes created the final songs the audience hears.

“The words of a Shoe often don’t ‘make sense’ in any conventional way, so what follows their recitation is our best effort at making sense, illuminating, underlining, erasing, re-drawing, or transforming them,” says Appleby. “It’s a bit like that old saw that in musical theater – when itts too much to say, you sing; and when it's too much to sing, you dance. But with the Shoes, we try to do all of these at once, or in rapid succession. Also, there’s one where Christian actually plays a saw.”

– Tricia Suit

Stranger Things

“The House on Watch Hill”
Ensemble Theatre Cincinnati
1127 Vine Street

Friday, May 22
Meet the Inspiration!

6:45 p.m.: Pre-show photo opportunities for media only
7:30 p.m.: Performance

Immediately following the show: Exclusive talkback with cast members and the real-life inspirations for the show

Performances continue through May 31, 2026
Tuesday – Saturday, 7:30 pm
Saturday and Sunda,t 2:00 pm

Tickets and information at ensemblecincinnati.org

Inspired by true events, “The House on Watch Hill” now playing at Ensemble Theatre Cincinnati tells the true story of a group of local teenagers who set out to create an unforgettable haunted house experience.

At this Friday’s performance the audience will have the unique opportunity to meet the actual people whose lives inspired the production!

The evening includes pre-show photo opportunities and a special post-show talkback featuring the real-life inspirations alongside members of the cast.

It’s a rare opportunity to learng behind-the-scenes insight into the real memories and experiences that inspired the story onstage.

“The House on Watch Hill” by Richard Oberacker and Robert Taylor, the Tony-nominated creators of “Bandstand,” closes Ensemble Theatre Cincinnati’s (ETC) 40th anniversary season with this regional premiere. Pulsing with original ‘80s-inspired music, this thrilling new musical is full of nostalgia, heart, and a touch of the supernatural. Playing through May 31, the show is directed by D. Lynn Meyers, ETC’s Producing Artistic Director, and Dee Anne Bryll.

“Do you remember a summer when you thought everything was possible?” asks Meyers. “This show is about the stripping away all the layers of who we’ve become and going back to a time when we were still growing, still dreaming, and still hoping things come to fruition. It’s based on a true and local story about the life of one of its creators, Richard Oberacker, and the summer that changed his life. What a brave and beautiful opportunity to share his story. The concept of this story would be considered completely outrageous if it wasn’t true. And the music? It’s intoxicating. Once you jump in, the rhythm just keeps going throughout the whole piece. These songs could have been hits of the ‘80s had they been written during that time.” 

“The House on Watch Hill” follows a group of teen misfits in the summer of 1984 who set out to build the ultimate haunted house in their Cincinnati suburb. Led by 14-year-old horror buff Patrick, their project stirs up fears far more real than any ghost story. Set to an original ’80s-inspired soundtrack and steeped in Cold War anxiety and latchkey freedom, this coming-of-age story is funny, moving, and maybe just a little spooky. A must-see for fans of “Stranger Things,’ “The Goonies”, and anyone who’s ever felt like an underdog, “The House on Watch Hill” captures the bittersweet moment between childhood and growing up—when you’re old enough to know the world is scary but brave enough to face it anyway.

The cast includes Jason Collins (Adult 1), Julianne Ferreira da Silva (Jennifer), Wesley Akio Geary (Paul), Adrian Graff (Patrick), Jordyn Amani Jones (Joy), Morgan Lindell (Kristin), Sara Mackie (Adult 2), Gavin Poronsky (Tim), and Tommy Sanders (Jason).

Best Foot Forward

Give yourself a breather during this long weekend to enjoy movement and explore nature in Eden Park.

Cincinnati Ballet, Cincinnati Parks Foundation, and Cincinnati Parks are collaborating on a community event on Saturday, May 23 that includes a free Cincinnati Ballet performance and a guided wellness experience at the Seasongood Pavilion.

Before the performance, guests are invited for optional guided wellness walk led by Dr. Barbara Walker of the Osher Center at 4 p.m., following the performance with Derek Scacchetti with Urban Rangers at 7 p.m., or explore the self-guided route around Mirror Lake and Tom Jones Commons at their own pace. Along the way, interactive signage with QR codes will demonstrate ballet-inspired movements for participants to try themselves before experiencing the Ballet performance at 5:30 p.m.

The event is a gift to the community from The Women’s Committee of Cincinnati Parks in celebration of its 20th anniversary. Featuring a special performance by the Cincinnati Ballet Academy Professional Training Division at Seasongood Pavilion, the evening will celebrate the connection between wellness, creativity and the outdoors through dance, walking and guided conversation as part of the award-winning Cincinnati Parks + Rec for Wellness, an initiative powered by the Osher Center for Integrative Health at the University of Cincinnati.

Cincinnati Parks + Rec for Wellness is a free, citywide initiative supported by Cincinnati Parks Foundation in partnership with Cincinnati Parks and Cincinnati Recreation Commission along with many community organizations. The program connects people to nature, movement and community through free experiences in Cincinnati Parks. This interactive experience is designed to encourage movement, play and connection while bringing together wellness, public art and performance in one of Cincinnati’s most iconic parks.

From dance and nature to movement and mindfulness, this evening is designed to celebrate the many ways Cincinnati Parks can bring people together.

Songs of the Season

2026 Cincinnati May Festival

Friday, May 15, 5 p.m.
Dîner En Fleur
Washington Park

Friday, May 15, 7:30 p.m.
“An Eclectic Opening Night”

Saturday, May 16, 5:30 p.m.
Festival Family Lounge
Wilks Studio

Saturday, May 16, 7:30 p.m.
“The Water’s Journey”

Sunday, May 17, 3 p.m.
“A Dream Deferred: Langston Hughes In Song”
Memorial Hall

Tuesday, May 19, 7:30 p.m.
Vocal Arts Ensemble:
Rossini’s “Petite Messe Solennelle”
Christ Church Cathedral

Thursday, May 21, 7:30 p.m.
On Love And Lust
Music Hall

Friday, May 22, 12:30 a.m.
Minis At Cincinnati Art Museum Babies Sing
Cincinnati Art Museum

Saturday, May 23, 10 a.m.
Minis At Cincinnati Art Museum Sensory Saturdays
incinnati Art Museum

Saturday, May 23, 7:30 p.m.
“Porgy And Bess: Festival Finale”
Music Hall

Tickets and Information

Julia Bullock, a Grammy-winning vocalist, brings her considerable talents to this year’s Cincinnati May Festival, both has a festival director and as a singer.

The 2026 May Festival revisits works from the history of the Festival in combination with new works never performed by the May Festival Chorus before, as well as new visual elements and collaborations with local performing arts groups, including the Cincinnati Ballet and the Classical Roots Community Choir.

As the oldest choral music festival in the Western Hemisphere, the 2026 May Festival features the most works by Black Americans, as well as pieces from the most diverse composers over the span of the four main concerts. The May Festival Chorus will perform pieces ranging from Gershwin’s “Porgy and Bess” to selections from Carlos Simon’s “Good News Mass”. They will sing alongside Bullock and be joined on stage by the Cincinnati Symphony Orchestra’s Music Director, Cristian Măcelaru, conductor Matthew Swanson and guest conductor Anthony Parnther.

For opening night, The May Festival hosts Dîner en Fleur in Washington Park, a public picnic for community members to come together and share a meal before attending the concert at Music Hall.

Inspired by the traditions of the Festival’s more than 150-year history, guests are encouraged to bring their own picnic baskets and food, as well as come dressed in spring attire to enjoy a night of choral music while dining with neighbors. Dîner en Fleur will feature live entertainment, picnic tables for seating and free activities for guests. In addition to live entertainment, there will also be the opportunity for attendees to create their own free flower crown in partnership with the Cincinnati Art Museum.

The party is followed by “An Eclectic Opening Night,” concert, a powerful celebration of music from across centuries and genres, reflecting the Festival’s storied past while boldly stepping into its future.

As co-curated by this year’s May Festival, along with May Festival’s Director of Choruses, Matthew Swanson, Bullock brings a distinguished international career marked by acclaimed performances, innovative curatorial projects and recognized leadership in social advocacy within the arts to the one-year role. Her solo album Walking in the Dark won the 2024 Grammy Award for “Best Classical Solo Vocal.” She has also performed on three Grammy nominated recordings and showcased her talent in lead roles of John Adam’s “El Niño” and “Antony and Cleopatra” at the Metropolitan Opera.

In addition to her performances and being artist-in-residence at preeminent art institutions around the world, Bullock is also responsible for launching three signature projects that have flourished nationally and beyond. This includes a multimedia ethnographic anthology called “History’s Persistent Voice,” which focuses on the influence of pre-emancipation voices across generations, emphasizing that era’s poetic musical traditions while centering the multifaceted identities of the Black American experience, realized through art.

“After almost a year of research and conversations, I am thrilled to share our key programming for this year’s May Festival,” said Bullock. “Historically, the festival has focused on gathering together local arts communities and performers, commissioning new work, and presenting unexpected repertoire side-by-side. I’ve followed that same ethos in planning this year’s music and events and am excited that these four core programs so clearly represent the May Festival in all its breadth and flair. Additional announcements will follow over the months ahead.”

Opening night’s performance will by conducted by the Cincinnati Symphony Orchestra’s Music Director, Cristian Măcelaru. The concert begins with Anton Bruckner’s “Psalm 150,” a dynamic and compelling showcase for chorus and orchestra, which will be performed by Bullock. A dialogue in song follows as the works of Alexander von Zemlinsky and Margaret Bonds — based on texts written by Langston Hughes — are intertwined. This concert concludes with an “Eclectic Mass;” a compilation of movements from various composers that, together, complete the Mass ordinary. The “Eclectic Mass” contains selections from Carlos Simon’s “Good News Mass” and Sanctus, Giovanni Pierluigi de Palestrina’s “Missa Assumpta est Maria,” Johann Sebastian Bach’s “Cantata No. 191,” Margaret Bonds’ “Credo” and ends with a gospel-inspired arrangement of a May Festival staple, the “Hallelujah Chorus” from George Frideric Handel’s “Messiah”, entitled, “Soulful Hallelujah.” The “Eclectic Mass” is heightened as Carlos Simon, for the first time with the Cincinnati May Festival, improvises on the Hammond Organ and Associate Director of Choruses, Jason Alexander Holmes, plays the role of the preacher.  

The Festival continues with music inspired by the power and mystique of water. Under the baton of Măcelaru, the CSO performs Duke Ellington’s, “The River,” a first for the Cincinnati May Festival. In his 1973 autobiography, Ellington composed “The River” to recount the journey of water as an allegory for life and spiritualty. The May Festival Chorus takes the stage alongside the CSO for the second half of the program in Ralph Vaughan Williams’ Symphony No. 1, “A Sea Symphony,” which also focuses on the power of the sea as a metaphor for life and the journey into death’s unknown.

For its second week, the Cincinnati Ballet’s Second Company will join the May Festival Chorus on stage for for the first time in the May Festival’s history. Cincinnati Ballet’s Yoshihisa Arai will create new choreography for two renowned and rarely performed ballets: Igor Stravinsky’s “Les noces” (“The Wedding”) and Carl Orff’s “Catulli Carmina” (“Songs of Catullus”). Also new to the May Festival program, the Cincinnati Symphony Orchestra’s percussion section and four pianists take center stage in performing “Les noces” alongside guest artists soprano Victoria Okafor, contralto Sara Couden, tenor Nicholas Phan and bass-baritone Yannis François.

In a celebratory conclusion, the May Festival Chorus joins forces with members of the Classical Roots Community Choir, the May Festival Youth Chorus, Bullock and baritone Alfred Walker for the “Festival Finale: Porgy and Bess'.” This final performance features Alfred Walker as Porgy and Bullock as Bess in her own personal selections from “Porgy and Bess.” This performance also features the first collaboration between the May Festival and the Classical Roots Community Choir. To wrap up the Festival, the program features “Plain-Chant for America” by William Grant Still, the first African-American composer to have a work performed by a major American orchestra. In addition, the program includes Stephen Paulus’ “Prayers & Remembrances” and Leonard Bernstein’s “Make our Garden Grow” from “Candide.” In a nod to honoring tradition, the 2026 May Festival will end with Handel’s “Hallelujah Chorus” from “Messiah.”

No stranger to Cincinnati, Bullock performed with the Cincinnati Symphony Orchestra last season in “El Niño: Nativity Reconsidered,” a chamber orchestral recreation of John Adams’ “El Niño” arranged by Bullock and her husband and conductor, Christian Reif. The recreation amplifies the voices of women and Latin American poets. Bullock says her time in Cincinnati encouraged her to accept the opportunity as the May Festival’s third Festival Director.

“What has been so special as a curator for this upcoming season is the collaborative spirit and expertise of both the May Festival team and the Cincinnati Symphony. Never have I felt so enthusiastic and excited while devising programs in partnership with arts organizations,” Bullock said. “What a lucky city to be filled with people who are so devoted to putting on a festival of this scale year after year! I honestly just feel lucky, as a singer, to take part in your arts and cultural experience.” 

More to See

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“Voices Unheard: Art, Identity, and Experience” 
Opening reception: Friday, May 15, 5 p.m. 
Community Gallery
Contemporary Arts Center, 44 E. Sixth St.

Exhibition continues through May 31.

More at cincycac.org.

Through a new partnership, Contemporary Arts Center (CAC) and the Hamilton County Juvenile Court are working to develop meaningful, creative opportunities for court-involved youth.

The initial collaboration opens to the public this Friday, with a multi-media exhibition showcasing the voices of young people currently housed at the Court's Youth Detention Center.

The exhibition, “Voices Unheard: Art, Identity, and Experience,” was created with support from the music, English, art, and science teachers inside the Youth Center's Cincinnati Public School. The works – including photographs and original words and music by the students – reflect personal stories of identity, resilience, rehabilitation, and growth shaped by lived experiences.

“Voices Unheard” invites visitors to look beyond assumptions and connect with the creativity, strength, and humanity of these young artists, offering an opportunity for reflection, understanding, and community connection.

Penny Harris, a CPS art teacher for 30 years, has worked at the CPS Youth Center school for the past seven years. A collaboration with local photographer Julian Howard sparked the idea for the CAC exhibit.

“At the Youth Center, all of our classrooms have become important spaces for detained kids,” says Harris. “They’re places where the kids can be creative, feel heard and valued. We reinforce to them that their voice matters and despite their circumstance, their futures hold promise.”

The county’s Youth Detention Center holds children facing serious charges while their case moves through the juvenile court system. If a child's case is bound over to the adult system, they remain in juvenile detention until the case is decided, up until the age of 21.

“By providing access to the arts through opportunities like this exhibition, CAC hopes to offer the assistance needed to help young people recognize their potential, find their voice, and envision new possibilities for their future,” says Elizabeth Hardin-Klink, director of education at CAC. “The work these students have created, with the tremendous support of dedicated CPS educators, is something to be championed in our community.”

“We are very grateful to our CPS teachers and CAC for working together to create this partnership for kids in our care,” said Juvenile Court Administrative Judge Kari Bloom. “Data tells us that a young person's brain is not fully developed until their mid-20s. For kids in the juvenile justice system, exposure to opportunities like this give them self-awareness, resilience, and a stronger sense of identity. Developing those qualities will lead to better outcomes for them and the community, when they are eventually released.”

All the ‘Rage

Maya Keleher as Alice Paul and SUFFS Company

“How long?” is the question at the heart of “SUFFS,” playing at the Aronoff Center for the Arts through Sunday, May 17.

Aronoff Center for the Arts
650 Walnut St.

Now through May 17

May 13, 7:30 p.m.
May 14, 7:30 p.m.
May 15, 7:30 p.m.
May 16, 2 and 7:30 p.m.
May 17, 1 and 6:30 p.m

Tickets and more info.

The Tony Award-winning musical about the fight to win the right to vote for American women is a must-see. Get tickets for this limited engagement by Broadway in Cincinnati. And ladies, take your sister, niece, best friend, and most importantly, a man, to see this one!

The musical opened on Broadway in 2024, and though you not know all the songs, but powerhouse vocals from the entire cast, but especially Maya Keleher, Marya Grandy, and Danyel Fulton, make it all instantly memorable and poignant.

“SUFFS” is a charming history lesson wrapped in a stirring score, exploring the passion of first (and second!) wave feminists. The show looks at the fight for civil rights through the stories of Ida B. Wells and Mary Church Terrell. But the central conflict – other than against the true enemy of those opposed to women’s rights! – is the struggle between Alice Paul and Carrie Chapman Catt.

Catt’s National American Woman Suffrage Association, working from the foundation established by Susan B. Anthony and Elizabeth Cady Stanton, took a more “slow and steady” approach to suffrage and women’s rights. Paul took a more radical approach, organizing marches and protests, forcing other women and men to take a stand.

Many of the lyrics, while telling tales of the past, touch on topics still relevant today. Talk of tyranny, racism, and the rights of women long ignored are still with us. But, like the closing song urges, “Keep Marching.”

– Tricia Suit

Together is Better

Footage from a 2023 production of “Label•less” at Cincinnati Playhouse in the Park.

“Label•less”
Thursday, May 7, 7 p.m.
Contemporary Arts Center, 44 E. Sixth St

VIP and General Admission tickets are available at lacheyarts.com.

Attendees will experience live performances from the cast, gain insight into the creative process, and engage directly with the artists behind the work.

“Label•less,” a powerful new musical created by Drew Lachey and Lea Lachey, will take center stage in a one-night immersive fundraising event on May 7, at the Lois & Richard Rosenthal Contemporary Arts Center. Presented by Lachey Arts in collaboration with Contemporary Arts Center (CAC) and creative studio Brave Berlin, the event will transform CAC’s second-floor gallery into a fully immersive environment through large-scale projection mapping, live performance, and storytelling.

Developed over eight years in Cincinnati,“Label•less” is now preparing for its summer 2026 Off-Broadway debut in New York City. The May 7 event offers audiences and supporters an exclusive, behind-the-scenes look at the production at a pivotal moment in its evolution.

Blending music, movement, and personal narrative, “Label•less” features a dynamic cast of young performers sharing real-life experiences–creating an emotionally resonant work that explores identity, belonging, and the shared human experiences that connect us beyond labels.

For one night, CAC’s gallery space will be reimagined through projection mapping by Brave Berlin, surrounding guests with dynamic visuals that respond to and enhance the performance. The evening will be hosted by Jackie Congedo, CEO of the Nancy and David Wolf Holocaust & Humanity Center, serving as emcee.

“This event is about more than showcasing the work–it’s about inviting people into the journey,” said Drew Lachey and Lea Lachey. “Cincinnati is where “Label•less” was born, and it’s incredibly meaningful to share this next chapter here before taking it to New York.”

Hosted within the internationally acclaimed CAC building, the event brings together leaders across business, arts, and philanthropy to support a homegrown production with national momentum.

“This moment speaks to what makes Cincinnati special–a city where artists, institutions, and partners come together to move bold ideas forward,” said Carolyn Hefner, Chief of External Affairs at CAC. “We’re proud to host “Label•less” at CAC as it takes this next step from a Cincinnati-born work to the national stage.”

Brave Berlin’s involvement adds a layer of innovation and design, transforming the performance into a fully immersive experience.

“It is an absolute honor to visually amplify this message of inclusion, empathy and love in a space that gives voice to contemporary artists, said Steve McGowan and Dan Reynolds from Brave Berlin. “We really believe that these stories have the power to ignite change.”

Book Lights

“The Greater Cincinnati and Northern Kentucky literary landscape is historically rich and fertile ground,” says Holly Brians Ragusa, founder of Lit Cincy “We see stark differences along the natural divide of the Ohio River, which is the impetus for writers to build bridges with words.”

Brians Ragusa, author and local literary advocate, today recently announced the launch of Lit Cincy, a new charitable organization dedicated to strengthening and unifying the literary ecosystem across Greater Cincinnati and Northern Kentucky.

Lit Cincy is a community-driven, partnership-focused initiative designed to make the region’s literary life more visible, connected, and thriving —from poets to playwrights, novelists to journalists, emerging and youth voices to established authors.

“I am always inspired by Cincy's literary offerings, and certainly wanted to highlight them, but in this instance I am compelled to meet this moment in our nation's history–an inflection point at 250 years of democratic ideals–where literacy rates are falling, misinformation runs rampant, freedom of speech is in peril, books are banned, digital tools write for us, authors are cancelled and members of the press are under increasing threat,” she says. “Not since the Guttenberg Press have we had an acceleration in technology meet with repression of knowledge. For the first time in recorded memory, we are backsliding, as the Flynn effect shows us with Gen Z.  Now is the time to stress and feature our literary past and paths foward.”

Lit Cincy is already building partnerships within the region. The organization focuses on several key priorities, including amplifying literary events across the region; advocating for literary expression and accessibility; supporting writers and creating meaningful connections for readers; fostering cross-genre collaboration; encouraging literacy; and increasing visibility for literary spaces.

The organization’s board of directors offers a microcosm of literary voices, including award-winning authors, poets, journalists, essayists, academics, and independent creatives from around the region, all united by a shared passion for the written word.

Lit Cincy has developed a comprehensive calendar which include upcoming readings and other literary events. But it is also a space for partners and interested collaborators to share their programs and raise their platforms.

“While I am excited to support partners, build collaborations and fill programming gaps with literary love, I think I am most excited about our volunteer opportunities and purpose driven board,” says Brians Ragusa. “We aim to invest energy in our literary community and advocate for literacy, expression, and the unfettered pursuit of knowledge. Books in hands. Words on pages. Minds in action. That is what drives us.”

More information about Lit Cincy, including opportunities for involvement, events, and donations, is available at litcincy.org.

Make It Stick

A reception celebrating the exhibition will be held on Saturday, May 9, 11 a.m. – 2 p.m. Attendees will receive free rolls of Duck Tape® while supplies last.

If you just think of duct tape as just a go-to problem solver for automotive, home improvement, and any other emergencies, you aren’t thinking big enough!

Beginning Saturday, May 9 Washington Park, you’ll find vibrant, larger-than-life sculptures made entirely of Duck Tape® brand duct tape will be on public view atas part of the annual “Duck Tape® at the Park” exhibition from Art Academy of Cincinnati (AAC).

Created by students and alumni from AAC, along with local artists, and sixth and eighth graders at The Summit Country Day School, the eight sculptures are on view through May 18.

AAC President Joe Girandola has been partnering with Duck Brand® for 20 years, teaching a special class sponsored by Shurtape Technologies, LLC, the company that markets Duck Brand®. 

He has also worked with the material in his independent artistic work and while teaching at the University of the Arts in Philadelphia and the University of Cincinnati College of Design, Architecture, Art and Planning. 

The semester-long Duck Tape® studio course enables students to work with the material to create and cover large-scale sculptures. The semester culminates in a public gallery exhibition at Washington Park in collaboration with 3CDC.

“There is so much magic to this DIY material,” says Girandola, “This material carries a kind of unexpected power. It starts as something utilitarian—meant for quick fixes—but in the hands of our students, it becomes a tool for building at full scale, for thinking differently, for transforming the ordinary into something incredible. In my opinion, duct tape is the quintessential American ‘oil paint’ and the theme this year of America 250 is perfectly aligned with this year’s sculptures.”

The annual Duck Tape® exhibition has drawn crowds consistently and has piqued the interest of local and national media. In 2011 while Girandola was teaching at the University of Cincinnati, the transporting of Duck Tape® sculptures from Cincinnati to Avon was featured in an episode of of A&E’s “Shipping Wars.”  

A Look Ahead

Contemporary Arts Center (CAC) has named Lacy Schutz  as Interim Executive Director, effective May 18.

Schutz brings nearly 20 years of cultural institution leadership to the role, with a track record of advancing artistic ambition alongside organizational and financial strength. Most recently she served as Managing Director of ATHR Gallery in Riyadh, Saudi Arabia, one of the leading contemporary art galleries in the Gulf region. Prior to that she served as Executive Director of Shaker Museum in New York, where she stabilized operations, rebuilt donor and community trust, and launched a transformative capital campaign. She has also held senior leadership roles at the Museum of the City of New York.

“We are genuinely thrilled to welcome Lacy to CAC,” said Emily Kokenge and Rick Michelman, co-presidents of CAC’s Board of Trustees. “She understands what makes CAC singular, and she has the experience to protect that while building the foundation this institution needs to take its next leap. We couldn’t be more excited about what’s ahead.”

Schutz has a deep commitment to the civic role of contemporary art institutions and to CAC’s history of courageous programming.

“CAC has been making bold choices since 1939,” Schutz said. “It has shown work that wasn’t safe, stood its ground when that mattered, and earned a particular kind of trust that very few institutions can claim. I am coming to Cincinnati to help build on that, to strengthen the foundation that makes the risk-taking possible, and to make sure this place continues to be what it has always been: somewhere the future gets rehearsed.”

CAC, at 44 E. Sixth St., has expanded its public hours for the summer, with galleries open Wednesdays 10 a.m. to 5 p.m., Thursday and Friday 10 a.m. to 7 p.m., and Saturday and Sunday 10 a.m. to 4 p.m. through June. Urbana Cafe is open in the Kaplan Hall Lobby seven days a week – Monday through Friday from 7 a.m. to 5 p.m., and Saturday and Sunday from 8 a.m. to 4 p.m.

Hear We Go

Tasha Pinelo

CPR One Year Anniversary Open House
Saturday, April 25, 11 a.m. – 5 p.m.
2117 Dana Ave.
Find out more.

Gathering Space

Jake Speed & The Freddies  
12– 12:45 p.m.

Members of the Cincinnati Symphony Orchestra
1:15 – 2 p.m.

ANNIE D
2:45 – 3:30 p.m.

Madcap Puppets
4– 4:45 p.m.

Performance Studio

Wild Carrot
12:15 – 1 p.m.

Cincinnati Opera
1:30 – 2:15 p.m.

Preston Charles III
2:45 – 3:30 p.m.  

Trinity Lê
4 – 4:45 p.m.

Board Room

OK Whaddya Know
12:30 – 1:15 p.m.

Roni’s Dance Company
1:45 – 2:30 p.m. 

Peraza Music Workshop
3 – 3:45 p.m.

Cincinnati Shakespeare Company
4:15 – 5 p.m.

Fully embracing the middle of their name, Cincinnati Public Radio is holding a free open house to celebrate the one-year anniversary of thee opening of the Scripps Family Center for Public Media.

“Our new home in Evanston has dramatically enhanced and expanded CPR’s role,” says Richard Eiswerth, president and CEO / general manager of Cincinnati Public Radio (CPR). “In this first year of operation, we’ve hosted more than 100 public events, welcoming more than 10,000 people. There is no other public venue like this in Evanston, and we’re proud to be part of this diverse and historic Cincinnati neighborhood.

The celebration on Saturday includes live music from local musicians (and the Cincinnati Symphony Orchestra!), family-friendly programs from Madcap Puppets, Antonio Violins, and Classics For Kids, and performances from Cincinnati Opera and Cincinnati Shakespeare Company. Guests can also enjoy refreshments fromCream + Sugar Coffeehouse, El Cardenal Taqueria, Fosters Foodies, and Marty’s Waffles

The first anniversary milestone comes in the midst of the collapse of the Corporation for Public Broadcasting, which ceased operation in January after Congress voted to cut federal funding to the organization. That funding was a key part of small and rural public media station budgets. Though the CPB was a small percentage of the CPR’s total budget, it covered critical operational costs such as music performance rights and national news distribution.

“We have been humbled and amazed at the depth and breadth of public support since the elimination of CPB,” says Eiswerth. “We’ve heard from major donors, long-time supporters, and those who may have been listening for decades but never contributed. They all recognize the value and importance of a source of unbiased, factual international, national, state, and local news — alongside compelling and inspiring musical offerings, with a heavy emphasis on Cincinnati-area performances.”
Eiswerth points out that two great huge changes — the loss of federal funding and the move to the new headquarters — have energized local supporters.

He also thinks that CPR’s staff and board have been inspired to meet the challenge to become a truly local, community-centered public service.

Despite the potentially daunting loss of federal funding, Scripps Family Center and enthusiastic local supporter, offered CPR the chance to continue to look forward and think bigger.

“We are presently neck deep in developing a new strategic plan that, we hope, can lay out our direction for the next three to five years; although, as recent events have demonstrated, it can be a bit presumptuous to assume to anticipate what these next three to five years will entail,” says Eiswerth. “We do know, and we will plan, to expand our news and music offerings, engage more partners across the media, business, and information sectors, and bring much more of the public into our building and onto our airwaves.”

Two for the Show

Contemporary Arts Center wraps up its 2025–2026 season with two solo shows by local artists Gee Horton and Michael Stillion

Curated by Maria Seda-Reeder, CAC’s adjunct curator, the exhibitions open to the public with a free opening reception at CAC, 44 E. Sixth St., on Friday, April 24, 7 to 9 p.m., with exclusive gallery access and a cash bar for the debut of these powerful new bodies of work.

Horton’s “Chapter 4, In Another Lifetime” unfolds across two galleries of CAC, marking a continued evolution of his narrative-driven practice. Working across large-scale photorealist drawing, photography, collage, video, and installation, Horton explores Black masculinity, generational memory, and the tension between safety and vulnerability.

In his preceding work, “Chapter 3: Be Home Before the Streetlights...” ­Horton examined the call to return home. “Chapter 4: In Another Lifetime” reflects on what we inherit once we arrive.

This narrative-driven exhibition features Horton’s loosely autobiographical account of the struggles of Freeman Little, a 37-year-old Black man living with Guent Bu Wa, a rare hereditary sleep disorder that causes vivid, prophetic dreams.

Gee Horton will hold an artist talk at The Mercantile Library on Saturday, June 20. More details and register.

The works in “Chapter 4,” show shifts in the scale and viewpoint of Horton’s artistic practice. Through immersive sculptural assemblages, symbolic iconography, and his beloved meticulously drawn figures, Horton weaves a dreamlike account of the consequences of intergenerational trauma, cultural legacy, and the rupture of colonial inheritance. The narrative unfolds within a cosmology where memory refuses erasure and the past presses insistently into the present.

Horton’s large-scale works employ photorealist graphite drawings with cyanotype (a blue-toned photographic printing process) to imagine absorbing visual imagery shaped by dream logic. In these new works, ruptured histories resurface and inheritance demands witness. Horton invites presence instead of closure, knowing some feelings are too big to explain away or resolve. They simply need holding.

Michael Stillion will will hold an artist talk at CAC on Saturday, Aug 1. Free for members, $5 for non-members. 

Stillion’s work explores portraiture, symbolism, and the human condition through emotionally charged, visually layered compositions. In “And then it was flowers” Stillion presents recent paintings depicting stone and ceramic vessels with human features, paired with exaggerated poppy flowers, serving as metaphors for fragility and impermanence.

Stillion pulls from a wide variety of influences, including pop culture from his childhood in the 1980s and early 90s, particularly that of the iconic cartoon character Bart Simpson and Nike’s Jordan Jumpman shoes stylized after basketball superstar Michael Jordan. The artist also references rural Ohio landscapes and touchstones of art history.

These expressive containers rendered with skilled, illusionistic trompe-l’oeil techniques demonstrate processes of decay and in/visibility. Often paired with exaggerated poppy flowers and realistic flies, Stillion’s paintings serve as metaphors for fragility, impermanence, transition, and pollination. Stillion’s work explores the human condition through emotionally charged, visually layered compositions. In And then it was flowers Stillion presents recent paintings, works on paper, ceramic sculptures, and an animation, all which depict vessels with human-like features.

The works in “And then it was flowers” also speak to Stillion’s interest in the passage of time, which he compares to shifts that are slow and, “subtle enough that in the moment you don’t necessarily notice that it’s happening, but if you’re away from it long enough and you come back to it, you see it.”

Based in Cincinnati, Stillion holds an MFA from Indiana University and a BFA from the Columbus College of Art and Design. He is a visiting assistant professor at Miami University and a recipient of multiple Ohio Arts Council Individual Excellence Awards. His work has been exhibited nationally and internationally and is included in both public and private collections.

The exhibitions run through Aug. 30. For programs and information, visit https://www.cincycac.org

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The presentation of “Gee Horton: Chapter 4, In Another Lifetime” at CAC is supported by Lauren + Tom Shafer, Jens Rosenkrantz + M. Katherine Hurley, Barbara A. Turner BT RISE, Inc., Barbara K. Meyers, Rozy Park + Chris Dendy, Bader + Simon, Sara + Michelle Vance Waddell, The Mayerson Foundation, Brian + Lisa Tent, Weekend Sea Fund, Northern Cincinnati Foundation, Bill + Kate Baumann, Eric + Jan-Michele Kearney, and Kristin Zelinskas. In-kind support provided by The Picture Frame Company, The Plant Trolley, Inc., The Mercantile Library, Habitat for Humanity, and Shay Nartker

The presentation of “Michael Stillion: And then it was flowers” at CAC is supported by Anonymous, Mr. Phillip J. Nuxhall, Bella, Sara + Michelle Vance Waddell, George + Linda Kurz, and Kristin Zelinskas. In-kind support provided by Matthew Board.

Leading Edge

Contemporary Arts Center continues to make bold moves. Along with expanded hours and the opening of Urbana Cafe in the lobby, CAC has announced the appointment of Jessica Orzulak as the institution’s new curator.

Orzulak joins CAC’s team to further the organization’s multi-faceted exhibition program, building on the institution’s long history of engaging and experimenting with the art, artists, and ideas of our time. She will begin her role on May 4.

“I am thrilled to be joining the incredible team at CAC as its new curator,” said Orzulak. “CAC’s historic role as a hub for contemporary art and as a catalyst for creative exploration has made it a vital platform for art and dialogue in Cincinnati and beyond. I have long admired its mission to act as a lab for connecting people through art and look forward to contributing to furthering its commitment to the community.”

Orzulak holds a Ph.D. in Art History and Visual Studies from Duke University and specializes in global contemporary art and photography. Previous appointments include serving as the Eleanore Jantz Curatorial Fellow at Duke University and the Linda Wyatt Gruber ‘66 Curatorial Fellow in Photography at the Davis Museum at Wellesley College. Her artist-centered, curatorial practice prioritizes community, collaboration, and storytelling, inviting audiences to engage with art and material culture in meaningful and dynamic ways. 

“After a thoughtful search of many talented and qualified candidates we were thrilled to welcome Jessica,” said Emily Kokenge and Rick Michelman, CAC Board co-presidents. “The board, staff and search committee were impressed with her varied curatorial experience. We are excited to work with her to further express CAC’s mission to bring the creative process to all people.”

CAC’s gallery hours for the summer are, Wednesdays, 10 a.m. to 5 p.m., Thursday and Friday 10 a.m. to 7 p.m., and Saturday and Sunday 10 a.m. to 4 p.m. through June.

Truth Hurts

There are some months when you pick your show. And then there are months like this one, when the Cincinnati Ballet basically says, why choose?

On one end, you’ve got something bold, creative, and a little unexpected. On the other, a full-on family experience that feels just as much like an event as it does a performance.

Let’s break it down.

Photo: Aaron M. Conway

“Pinocchio”
April 16–19

For when you want a fun family outing

Pinocchio is everything you want in a family performance: a familiar story, colorful characters and just the right amount of heart. “Pinocchio” goes on a series of adventures, encountering characters like Geppetto, the Blue Fairy and the Fox and Cat, and learning lessons about honesty and love along the way.

The performance is narrated and runs about an hour, with no intermission. That alone is a win for parents.

But here’s what really sets this one apart:

The magic starts before you even take your seat. The lobby opens an hour early and is all a part of the experience. The Aronoff lobby turns into a carnival, with something happening on every level before the show:

Orchestra level:
Photo opportunities alongside costume displays, plus a sensory-friendly station where children can touch and explore fabric samples that match the costumes on display. There’s also a hands-on prop-matching activity that lets kids connect what they see before the show to what they’ll see on stage.

Loge level:
Craft stations where kids can make a Pinocchio-style hat, create a clothespin Jiminy Cricket and decorate their own whale.

Balcony level:
A puppet show every 15 minutes, interactive games, and a Magic Mirror photo booth.

This means your whole crew will begin experiencing the wonder of ballet the moment you walk in the door.

This is one of those moments where you can see exactly what makes a company like Cincinnati Ballet special.

One program pushes boundaries, mixes styles and reminds you that ballet can feel modern and a little unexpected. The other leans into story, tradition and fun, and turns a night at the theater into a full experience for families.

You don’t have to be a longtime ballet fan to find your way in here. You just have to pick what kind of experience you’re in the mood for. Or better yet, see both and get the full picture.

Photo: Peter Mueller

“Director’s Vision: Liberty in Motion”
April 10–12

For when you want something fresh, surprising, and a little bit different

This is the kind of show that reminds you ballet isn’t just tutus and tradition.

“Director’s Vision” is a patriotic triple bill that closes out the main company season at the Aronoff Center, and it’s built to show the range of the dancers, and of what ballet can be.

You’ve got three very different works sharing one stage:

Justin Peck’s “The Times Are Racing”
This one leans all the way into contemporary energy. Set to an electronic score by Dan Deacon, it pulls from a mix of dance styles and has a youthful, rebellious feel. And yes, the dancers are in sneakers. Vans, specifically.

Claudia Schreier’s “First Impulse”
A neoclassical piece that blends traditional ballet lines with more modern movement. It’s sleek, athletic, and emotionally driven, the kind of work that shows off both precision and power.

George Balanchine’s “Serenade”
And then there’s the classic. “Serenade” is one of the most beloved ballets of all time and a true milestone in dance history. It was the first original ballet Balanchine created in America, and it still feels timeless. If you’ve never seen it live, this is your moment.

What makes this program so compelling is the contrast. You go from sneakers and electronic music to one of the most iconic classical works ever staged, all in the same evening.

– Kathrine Nero

Small Wonder

Even the littlest artists can get creative at the Contemporary Arts Center with the opening celebration of the CAC's School Outreach Program (SOP) exhibit and an updated “Soft Bones” installation by artist Garrett Goben, on Saturday, April 11, from 11 a.m. to 2 p.m.

“‘Soft Bones’ is an interactive installation in the CAC's Creativity Center,” says Elizabeth Hardin-Klink, CAC’s director of education. “Goben likes to design new sports and games for people to play as a form of performance art. This installation invites visitors to come together and create the rules and objects for their own games using the handmade sculptures and game pieces he's created. The interactive piece is designed for visitors of all ages to use, inspiring them to step outside of their routines and experience something profound in everyday spaces.”

The Family Festival also marks the opening of an art exhibit for CAC’s School Outreach Program (SOP(, an initiative designed to bring contemporary art experiences into the classroom. Along with docent-led gallery visit and in-class workshops, SOP includes participation in CAC's annual student art show.

These two great new additions to the 6th floor will be on display for visitors to learn about and explore. Guest artists from the SOP will join in on the fun with hands-on art making related to the work. Special visitors from DIY Printing and Visionaries + Voices will have creative stations with projects that visitors of all ages will enjoy.

“CAC has partnered with Visionaries + Voices for many years through their SOP,” says Hardin-Klink. “This partnership brings V+V artists and educators into the classrooms and invites students to the V+V gallery to learn directly from working, local artists with disabilities. This partnership is incredibly important, letting students connect with many different types of artists and creating a more inclusive arts community.”

Visitors will also have the chance to meet artist Goben, the mind behind “Soft Bones” and learn more about the update piece, which was first installed during the grand opening of the Creativity Center in 2022. 

“This much-loved piece has been a source of inspiration and joy for thousands of CAC visitors and was in need of a refresh,” says Hardin-Klink. “After taking some time away, ‘Soft Bones’ is back and better than ever with new game pieces, new interactive sculptures, and some additional new surprises that the CAC knows its families will enjoy.  

Other interactive opportunities during the Family Festival include

• Screen Printing – DIY Printing (an SOP studio partner) will be leading a collage print making activity with remnants from their printing studio. Visitors can learn about screen printing, then create and take home their own collage print. 

• Felt a Mini Rug – CAC Educators will be on hand to lead visitors through a mini rug making activity inspired but the new rugs in Garrett Goben's Soft Bones installation. Participants can try their hand at felting while create a tiny game rug to take home. 

• Design a Game Piece and Game Board –Visitors can use clay to sculpt their own game pieces, and wooden game board to take home, inspired by Garrett Goben's Soft Bones sculptures. 

• V+V Relief Printing – Work with V+V artists to create a relief print using foam plates. Experiment with ink and scratch drawings to create a unique, one-of-a-kind print to take home. 

At First Sight

Alex Steffen

Bo Cross

Claire Sinsley

Daniel Kelly

Jude Dean Punter

Kennede Oninku

Rae Brady

2026 Thesis Exhibitions

Gallery receptions:
Friday, April 10, 5–8 p.m.
and Friday, April 24, 5–8 p.m.

Students:
Alex Steffen, Illustration
Bo Cross, Illustration 
Clair Sinsley, Painting & Drawing
Daniel Kelly, Painting & Drawing
Jude Dean Punter, Painting & Drawing
Kennede Oninku, Sculpture
Rae Brady, Illustration 

Gallery Hours:
Monday–Friday, 9 a.m.–8 p.m.
Saturday and Sunday, 9 a.m.–5 p.m.

All events are free and open to the public.

For more information, visit www.artacademy.edu/events

As graduation season nears, student are prepping for year-end exams and projects. At the Art Academy of Cincinnati (AAC) that means exhibitions.

The 2026 Thesis Exhibitions, installed throughout AAC’s campus galleries, offer a layered view into the practices shaping a new generation of artists and designers.

“The thesis exhibitions are an opportunity for students to present their work in a professional gallery setting, marking their transition from student artist to emerging professional,” says Sarah Stolar, executive director of academic affairs and academic dean at AAC. “Over the course of at least two years, students have been developing the work they present, resulting in projects grounded in sustained investigation of concepts that are meaningful to them.”

This year’s titled group exhibitions – “Kaleidoscope,” “Phantasmagoria,” “Overhead Underbelly,” and “All Roads Lead Here” –emerge as distinct but interconnected frameworks, shaped by the artists themselves. Together, they transform AAC’s galleries – including Pearlman, McClure, Chidlaw, SITE1212, and the Clean Cube – into an expansive, multi-site presentation of contemporary practice.

“This group of students has exceeded all expectations,” says Stolar. “They are not only technically skilled, but more importantly, they are pushing boundaries, asking critical questions, and challenging the norm, which is everything a strong, relevant, and important artist should be doing.”

The exhibitions foreground material exploration, narrative, and process, revealing a wide range of approaches that move fluidly between disciplines.

“The thesis exhibitions and corresponding papers are a vital culmination of AAC’s educational experience,” says Stolar. “While this is an expected component of graduate programs, at AAC the thesis experience stands as a defining example of the rigor of our BFA program. Preparing for the exhibition is a direct continuation of this education, as students learn how to professionally mount, light, and market their work. They take on every aspect of the process from the ground up, with guidance from faculty and staff, gaining hands-on experience that prepares them for the expectations and realities of being a professional artist.”

Working across painting and drawing, illustration, sculpture, photography, digital arts animation, design, print media and creative writing, students present fully realized bodies of work developed through sustained studio inquiry.

“As an alum of the BFA program, class of 2000, I remember the excitement building as we prepared for our thesis exhibition,” says Stolar. “It was a special time that marked a kind of ‘coming of age’ as artists. I know firsthand how meaningful this moment is for our students and how important it is for them to make their voices heard in order to stand out in a sea of contemporary artists.”

See What’s New

Summer gets a little bit closer, as Summerfair reveals this year’s commemorative poster on Thursday, April 9, from 6–8 p.m. during a special event at HighGrain Brewing Brentwood, 9176 Winton Road,

Along with the poster, Summerfair will also be officially releasing their new collaboration with The Cincy Hat.

The Cincy Hat Summerfair collection includes two limited-edition hats that will help support artists and arts organizations in the region. Each hat pairs the iconic Cincy Hat logo with Summerfair’s signature bright and vibrant colors.The collaborative hats will be available for the first time at the poster unveiling.

At the HighGrain event, Summerfair poster artist Rich Blandford will be signing posters, which will be for sale at $10 ($20 value).

“Rich is a first time winner of our prestigious poster competition,” says Jayne Utter, managing director of Summerfair Cincinnati. “We are excited to present his bright and beautiful design. It's so different from anything we’ve ever had!”

A graphic designer and art director for 18 years, Blandford is a graduate of Jefferson Community College, in Louisville, Ky. Now retired, Blandford continues to work as an artist.

“I’m honored my artwork has been chosen to promote Cincinnati’s top fine arts and crafts show,” says Blandford. “I tried to capture the excitement of heading into Coney Island for the Summerfair experience not only as a patron, but also as a participating artist, coming through the entrance with same joy and anticipation that all the visitors feel when arriving to see all the creative works on the other side of the gate.”

HighGrain Brewing is creating a light lager for this year's Summerfair, with cans featuring the poster artwork created by Blanford. The beer will be available for the first time at the poster reveal event.

For nearly 60 years, Summerfair has been dedicated to supporting visual and performing arts in Greater Cincinnati. During the annual fine arts fair, enough funds are raised to support awards, scholarships and exhibitions. This year’s fair, May 29-31, takes place at Coney Island, which is Summerfair’s home.

This joint fundraiser with The Cincy Hat will support Summerfair’s mission to support artists and arts organizations in the region and Cincy’s Hat’s mission to provide housing and educational opportunities for adults with developmental disabilities.

Summerfair will be held at Coney Island from Friday, May 29 through Sunday, May 31. Advance tickets are on sale now at summerfair.org, with one-day ($10) or multi-day tickets ($15) tickets available. Children 12 and under admitted free.

Major League

Opening Day signals the official return of baseball around the Buckeye state and Ohio Goes to the Movies is celebrating with baseball-themed movies this month.

Ohio Goes to the Movies, the statewide initiative celebrating Ohio’s film legacy, baseball takes center stage. From the iconic “Major League,” which put Cleveland at the heart of baseball pop culture, to underdog stories rooted in Ohio communities, the state has helped shape how generations experience the game.

Baseball Hall of Fame announcer Marty Brennaman joins the fun, lending his voice for this baseball-themed video.

Check out the Spring line-up of films at ohiogoestothemovies.org.

Drawing Inspiration

The Evolving Face of Main Streets, USA
Wednesday, March 25, 7 – 8:30 p.m.

Randy Smith – Smith recently retired from a 35-year career as creative director for Jack Rouse Associates (JRA), where he provided design leadership for a variety of JRA’s museum and entertainment projects.

Muhammad nafisur Rahman – Rahman is an assistant professor of communication design at the University of Cincinnati’s Ullman School of Design at DAAP and research lead of the eXperiential Design Lab (XDL).

Stephanie Sadre-Orafai – Sadre-Orafai is associate professor of anthropology and director and faculty chair of the Taft Research Center at the University of Cincinnati/

Tod Swormstedt – Swormstedt is the founder and curator of the American Sign Museum. He formerly served as the editor & publisher of “Signs of the Times” magazine.

D.J. Trischler – Trischler is an assistant professor of communication design at the University of Cincinnati’s Ullman School of Design at DAAP

Register now

The American Sign Museum continues to both honor the heritage of signmaking and explore its future.

The new exhibition, “Back to the Drawing Board: The Art of the Sign Sketch 1925 – 1975,” looks at the process of creating a sign, from simple sketches to detailed renderings. It also offers a timeline of historic events, to give context to how signs changed with and during pivotal periods.

Typically headed for the trash after their usefulness has ended, sign sketches could be viewed simply as renderings for how a sign will look and function in its environment. That practical view does not do justice to the artistry and detail that signmakers put into these sketches.

This exhibition will take you “back to the drawing board” when considering what qualifies as art through an exploration of sketches spanning 50 years and gathered from across the country.

Digging a bit deeper into this concept, a panel of experts will discuss how graphic and commercial design have evolved over time in response to new technologies and cultural shifts and explore how the artistic process has been impacted. “The Evolving Face of Main Streets, USA” moderated by retired DAAP professor Randy Smith, will take place on Wednesday, March 25, from 7 to 8:30 p.m.

The main streets of communities across the U.S. are supported by their businesses. Those businesses are in turn supported by creatives across fields like graphic design and signmaking to create vibrant and memorable visual messaging that can turn streets into spectacles. Join the ASM for a panel discussion for a dive into how graphic design and signage in particular have shaped the face of main streets across the country over the past century.

With more than 75 sign sketches from the museum’s permanent collection and on loan from private collections, the self-organized exhibition brings 50 years of sketches from across the country together to explore the artistry of the signmaking process through objects that are usually never seen by those not involved in the work.

Get Your Goat

The world can be a scary place, but you can count on one thing to make it better – baby goats!

ArtsWave, the region’s engine for the arts, along with the artist collective Often Seen Rarely Spoken, MeetNKY, the City of Covington, and The Gruff, officially unveiled “Pineapple on Pizza,” a new outdoor mural at The Gruff in Covington. Goats from The Party Animal Express joined the celebration!

The artwork is part of Rust-Oleum’s “Spray It Forward” mural program, a national initiative that created murals across the country last year. The ribbon-cutting (and chewing!) celebrated the place-making project ahead of Spring.

The project represents a milestone in ArtsWave’s growing commitment to creative placemaking in Northern Kentucky, aimed at strengthening neighborhood identity and fostering connection through public art.