A Distributed Titles Book
“At a moment when corporations are regarded as people too, every entity has had to become a hustler. The first chapter of Twentieth Century Hustlers. shows us the system in its throes, the second underlines its effect on human lives. But hustling as he depicts it is not the only way to labor, and Oppenheimer’s installation is perhaps best understood as a warning lest we forget the craft of being human.”
from the essay by Richard Sennett
Geof Oppenheimer: Twentieth Century Hustlers. is an exhibition catalog published to accompany a 2020 video installation at the Columbus Museum of Art. The catalog includes photos of the exhibit along with essays by Tyler Cann, Anita Chari, and Richard Sennett.
Commissioned by the Columbus Museum of Art and shot in Dublin and Whitehall, Ohio, Geof Oppenheimer’s two-part video installation, Twentieth Century Hustlers., ruminates on how the post-industrial world has affected the physical, technological, and psychological conditions of labor.
Oppenheimer, a Chicago-based artist, has had work exhibited nationally and internationally which has been written about in Art in America, the New Yorker, and the Wall Street Journal.
In the first chapter of Oppenheimer’s video, a strange pink glow suffuses a late-model Lincoln Town Car as it glides between the mirrored buildings of an anonymous office park. Among the three archetypal characters in the back seat, business jargon becomes oracular poetry, and the powerful seem overtaken by a situation they do not fully comprehend.
The second chapter, set in a café, relays a middle-aged man’s enigmatic story of displacement, loss, and what it means to strive in an unstable world. The scene borrows structures and language from Ohio Impromptu, a short play by Samuel Beckett. Twentieth Century Hustlers. transposes Beckett’s tale of estranged love into one about the nameless, fearful symptoms of our economic and social reality.
Geof Oppenheimer’s work has been exhibited nationally and internationally at a variety of venues, including Mary and Leigh Block Museum of Art, PS1/MOMA, The Contemporary Museum, Baltimore; The Museum of Contemporary Art, Chicago, SITE Santa Fe, The Indianapolis Museum of Art, The Aspen Art Museum, The 4th Athens Biennale and CAB Art Center, Brussels. His work has been the subject of published writings in Art in America, The Wall Street Journal, The Chicago Tribune and The New Yorker. He received an MFA from the University of California, Berkeley and is associate professor of practice in the Department of Visual Arts at the University of Chicago. More info →
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Release date: September 2020
34 illus. · 104 pages · 10¾ × 8¾ in.
The Art of Aminah Brenda Lynn Robinson’s House and Journals
Edited by Carole M. Genshaft
· Foreword by Nannette V. Maciejunes
Through this catalog, readers will experience Aminah Robinson’s amazing house, her art, and her profuse journals. In them, as was so often the case, she succinctly defined the importance of art in general and of her relationship with the Columbus Museum of Art.
Art | Individual Artists | General · African American Studies · Art | American | African American · Ohio
The American Collection of the Columbus Museum of Art
Edited by Nannette V. Maciejunes and M. Melissa Wolfe
This book adds a novel and provocative element to the library of art museum collection catalogs, featuring selected works from the museum’s collection and concise essays by scholars of art who reflect on respond to the distinctive aspects of each work.
Art | American · Art | Collections, Catalogs, Exhibitions | Permanent Collections · Ohio and Regional
Claes Oldenburg and Coosje van Bruggen, Cleveland’s Free Stamp
By Edward J. Olszewski
In 1985, the Sohio oil company commissioned Claes Oldenburg and Coosje van Bruggen to design and construct a large outdoor sculpture for its new corporate headquarters in Cleveland, Ohio. The result was Free Stamp, a bold and distinctive installation that captured both a Pop Art sensibility and a connection to the city’s industrial past. Sohio executives approved the design, and work was already underway, when British Petroleum acquired the company.
Winold Reiss and the Cincinnati Union Terminal
Fanfare for the Common Man
By Gretchen Garner
After designing and installing the massive murals for the Cincinnati Union Terminal in the 1930s, German immigrant artist Winold Reiss fell into relative obscurity, despite the vibrancy and boldness of his meticulous mosaic works. Art historian Garner pays this early modernist his due, putting him in the context of his international peers and the art movements that continue to invigorate our aesthetic landscape today.