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Shepard Fairey Retrospective Review

You can be certain that fans of ABC’s Lost will be found in front of their televisions on May 23rd, as the labyrinthine TV fantasy/sci-fi/adventure show wraps up its six-seasons-long narrative. Lost diehards are desperate for a conclusion that will bring closure to and make sense of countless loose ends that have frayed into an ever-more-complex knot of high-minded mysticism and philosophical allusion; anything less than an airtight explanation might suggest that the previous six years of their lives could have been better spent.

Personally, I hope that creators Damon Lindeloff and Carlton Cuse have both the stomach and sense of humor to play a practical joke of epic proportions by tying everything up in a neat little package with a card that reads “It was all a dream.”

Locally, the ongoing Shepard Fairey retrospective at the Contemporary Arts Center has made a splash with its own cocktail of ambitious subtexts, and I had the chance to follow the buzz and visit the show on Sunday of its opening weekend, with free admission offered as part of the Fine Arts Fund Sampler Weekend. I admired the boldness and the commitment of the artist to his purpose, as well as much of his technique, particularly in his large-scale murals: weathered textures and patchwork patterns abound.

The vast majority of the work in the two-floor exhibition belonged to Fairey’s on-going “Obey Giant“ project, done in service of one goal: to create a complex art-you-live aesthetic that changes the way audiences look at the rest of the world. Lofty stuff… yet, I could never shake the suspicion that there was far less going on intellectually than Fairey would have us believe.

Crowds outside the CAC for the Shepard Fairey opening night party – photos by Jeremy Mosher.

Premised on a head-scratching concept — that a sticker of Andre the Giant that doesn’t appear to sell anything will make the public question the images around them — Fairey has subsequently cited existential philosophy (in this case, Phenomenology) as the underpinning of his work, essentially evading explanation instead of offering clarification. As with Lost, rather than resolving tenuous connections between images or occurrences, we’re told to just keep digging deeper and deeper down the rabbit hole: the truth is there, have faith. What truth? And why not share it here? For that matter, when is Shepard Fairey? Well, you got me. But, if the meaning of a statement is elusive, it doesn’t necessarily make the statement meaningful.

No, by invoking the terms “propaganda” and “dissent,” by using an Orwellian poli-speak in posters and incorporating an ever-widening range of historical and philosophical allusions, the Fairey retrospective merely trades in Big Ideas without really committing to any. It’s all sizzle, and the promise that maybe there is a steak in there if you look hard enough and can talk yourself into it. Ultimately, the work on display is far less nuanced than the politically- or commercially-charged imagery Fairey wants to call into question: neither as sneaky nor as clever as proper propaganda. “In lesser gods we trust?” Puke.

The line to get into the CAC wrapped around the block along Walnut Street – photos by Jeremy Mosher.

Still, if Fairey’s work is reductive and far less subversive than it aims to be, it remains extremely topical, and I’m thrilled to see the CAC book such a timely and interesting show: it’s the artist like Fairey that can move the arts into the fore of a city’s consciousness. Afforded the chance to see these much-talked-about, widely-popular works from our own day, I can’t recommend strongly enough that Cincinnatians take a visit to see what all the fuss is about.

But once you’re there… don’t believe the hype. If you look too hard for a satisfying explanation for the island, the jumps through time, and whatever else happened after I gave up on a game that couldn’t be bothered to come up with any set rules, you might just make your head hurt.

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Great American Tower Photo Update

Great American Tower will soon become Cincinnati’s tallest high rise building at close to 700 feet in height. The building has officially been topped out, but is still awaiting its grand crown that will push the tower over Cincinnati’s historical tallest building – Carew Tower. These recent photos (click to open larger versions in new window) taken by Jake Mecklenborg show the progress and prowess of Great American Tower.

Looking west, Great American Tower dominates the skyline [LEFT]. Great American Tower looms over the billion dollar mixed-use development known as The Banks [RIGHT].
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Cincinnati receives $712k to reconfigure Galbraith Rd Interchange

The U.S. Department of Transportation (DOT) has awarded a $712,500 grant to Cincinnati for the design of a new exit ramp on Interstate 75 at the existing Galbraith Road interchange. The project is a small component of the much larger multi-billion dollar effort to improve safety and add capacity to one of the nation’s worst stretches of highway for commuters.

The grant money will fund the elimination and replacement of the current left hand exit with a new right hand exit along northbound I-75. Project officials early on had suggested the elimination of the left hand Galbraith Road exit (map) altogether without a potential replacement. This proposal was met with great opposition from nearby residents and business owners who rely on the interstate access.

“This project will make for an easier commute and improve safety on Interstate 75,” said Representative Steve Driehaus (D-OH). “In addition, the funding will stimulate our local economy and create jobs.”

Galbraith Road Interchange photograph by Larry Stulz

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Meatless Mondays: Getting Saucy at Riverside Korean Restaurant

“What’s in this incredible sauce?” I innocently asked the waitress. In response, she threw her head back and cackled the way people do when they know something but have no intention of letting you in on the secret. Clearly, it was going to take more than a sweet smile to get this woman to talk, but more on that later.

The dish I was asking about was the Mae Un Du Bu Bok Um ($14.95) at Riverside Korean Restaurant – a tofu and vegetable stir fry that had me reeling from the first bite.

“Reeling?” you ask. Yes, if that’s what you would call me clutching my heart and repeating the word “wow” over and over again. My husband ordered the Dolsot Bibim Bab ($15.95), a popular rice and vegetable entree that’s served in a hot, stone bowl and topped with a fried egg at the last minute. His food was delicious, but it was the stir fry that had me threatening to storm the kitchen so that I might steal the recipe.

Mae Un Du Bu Bok Um dish from Riverside Korean Restaurant – photo by Courtney Tsitouris.

First of all, the food looked as beautiful as it tasted. A stack of perfectly julienned vegetables – pan-fried and obviously lovingly cared for — wrapped around each other in a glistening, messy swirl of color. The tofu was so soft it looked more like melted cheese than a soy product.

And then there was that pool of sauce. The sauce whose recipe I tried to weasel out of the waitress, the sauce I’d probably eat on my breakfast cereal if I could. It entrenched the fried cabbage, long hot peppers, and vegetables with sweetness first and then heat.

People who write about food love to talk about umami, the mysterious fifth taste said to be found in many soy sauce related dishes. I’ve never been one to notice, but in this sauce, the savory sensation overwhelmed me in a lingering, almost haunting manner.

Banchan sides from Riverside Korean Restaurant – photo by Courtney Tsitouris.

I proved to be a particularly poor dining companion when the banchan arrived. The half dozen or so complimentary small bites were, as my husband tried to tell me, meant to be shared alongside the meal. But sharing was difficult when the sweet, honey potatoes melted so quickly in my mouth and the spicy kimchi was so finger-licking good. Each one, more visually sophisticated than the next became a carnival of flavor and a fun counterpoint to the main course.

After all of our plates were empty and our bellies were full, I thought I’d give it another go with the waitress. “So, this is a soy based sauce, right?” I asked her in a hopeful tone. “Yes,” she said, “soy sauce, vinegar, sugar and some other ingredients.” Her voice trailed off as she made way back to the kitchen. I guess that was going to have to do for now.

Riverside Korean Restaurant is at 512 Madison Avenue in Covington (map). Make reservations at (859) 291-1484.

‘Meatless Mondays’ is a new series on UrbanCincy that explores one of the recommendations of CIncinnati’s Climate Protection Action Plan (aka Green Cincinnati Plan) – try to go meatless one day a week. UrbanCincy’s ‘Meatless Mondays’ series is written and photographed by Courtney Tsitouris who is a cook, designer and author of www.epi-ventures.com, a blog about dining in and dining out in Cincinnati.
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Once and Always A Stakeholder

The party line was this: I moved back to Cincinnati because my freelance work was rarely based out of New York City — counter to my expectations when first striking out as a self-employed writer and video producer — so I had an opportunity to finally get away from Gotham’s pound-of-flesh rents. Hello, profit-margin, right?

Truly, the full answer defied the time-limits of polite cocktail-party conversation. Every city in the country offered a lower cost-of-living and a healthy handful promised opportunities to share my life with good friends and family. But only one city had gotten into my blood.

Large crowds gather outside the CAC to get in to the Shepard Fairey opening night [LEFT]. Great American Ball Park is the home of the nation’s oldest professional baseball team the Cincinnati Reds [RIGHT]. Photos taken by Jeremy Mosher & Randy Simes.

A recent Vanity Fair article written by A. A. Gill explored the Creation Museum in Petersburg, KY, and opened with an offhand dig at Cincinnati, saying that “it’s not in the nature of stoic Cincinnatians to boast, which is fortunate, really, for they have meager pickings to boast about.” Gill is of that breed of lazy sensationalists more concerned with eliciting reaction than approaching a nuanced — even intimidating, surely — mental space, and this line, casually flippant, and really, totally extraneous to the rest of the story, served his aim. Picked up by blogger Katy Crossen earlier last week, Crossen challenged local bloggers and Twitter-followers to boast why they are proud of Cincinnati. And the responses began to pour in, detailing everything from the Zaha Hadid-designed Contemporary Arts Center to the world’s first professional baseball team.

Me? When I first moved to New York for college, I was often asked to describe Cincinnati, and I came to rely on a fond but accurate snapshot: “Big city amenities; Small-town feel.” We account for ten Fortune 1000 companies — including 75% of Ohio’s entries in the Top 100 — but we value our neighborhoods, and local religious roots have connected millions of people through Catholic schools. Introduce me to anyone from Cincinnati and give us ten minutes together, I would say, and we’ll come up with at least one mutual acquaintance.

Seven years into my New York adventure, I loved being able to indulge in all of my passions, fed by the culinary offerings, the public transportation, the neighborhood movie theaters, and the vast comedy scene. But I was suddenly disappointed to realize that nearly a decade on, the emotional connection to my surroundings had only grown so deep. Perhaps the size of the city was responsible, but I was struck by an epiphany that the things tying me and my peers to New York were most often cultural and career opportunities. Friendships were nice, but the relationships weren’t the priority or the motivating factor for residence — even if social opportunities were.

I would argue that even with amazing museums, pro sports, and an emerging cultural scene, community remains the Queen City’s defining trait. And I would suggest that beyond the interpersonal relationships that grow so strong here, our defensiveness derives from our relationship to the city itself. Cincinnati, the whole intangible idea of it — the people, plants, buildings and backstory — functions like a family in a way that other cities with more transient populations don’t. It’s only natural for a person to defend his home, as an affirmation of his life choices, if nothing else; our relationship to Cincinnati is, I think, more complicated and more rich. We love it even when it frustrates us. We shape it, even as we are shaped by it.

The sun sets on my time in New York City [LEFT], and I start my journey anew in the city I love [RIGHT]. Photos by Jeremy Mosher & Randy Simes.

And I think that’s the difference: because Cincinnati is inhabited and led by homegrown folks probably more than any other city our size or bigger, a sort of mutual osmosis goes on. A Cincinnatian owns a stake in this city; woe to those who aspire only to rent it for a few convenient years. Yes, new residents have been known to be intimidated initially, but they can still become part of the family, part of this wholly unique place and experience, if they’re willing to put up with — and occasionally revel in — the quirks and foibles. (We wouldn’t let a family member bring a new spouse into the herd without doing due diligence, right?) Cincinnati will look out for us. It will give us the opportunities to outgrow it, but never let us forget where we came from. It will welcome us back, even if we feel the need to leave the nest for years at a time.

Returning from a business trip to the far side of the Atlantic last weekend, I had a layover in New York. Few things in this world are breathtaking like a banking bird’s-eye view of Manhattan at night, but as I picked out landmarks from my vantage high above the city I had long called my home — and meant it — I recognized something new: that I am thrilled to be living in Cincinnati again. Do I miss life in New York? Certain elements, yes. But given a choice, give me family, evolving but ever-loyal, sitting proudly on this big bend in the banks of the Ohio.