An image roundup of fascinating architectural details from Franklin Avenue's vintage and historic homes as captured by Fresh Water's managing photographer Bob Perkoski.

A sculptor, ceramicist, industrial designer and Cleveland Institute of Art professor, Viktor Schreckengost's legacy continues to live out loud throughout Northeast Ohio and beyond.

On Friday, May 5, from 6 – 9 p.m., SPACES will host an opening reception of The First 100+ Days, which is an exhibition of Ohio-based artists’ responses to the initial phase of Trump’s presidency — specifically regarding his immigration policy.
 
The artworks feature stories from immigrant and refugee communities while addressing the practical application of the Trump administration’s direction. The exhibition also considers how the media influences political discourse and aims to capture the radical potential of artistic activism.
 
The hard-hitting and varied responses from artists living in Ohio — a strategically positioned swing state — will be accompanied by a timeline of actions taken since President Trump's Jan. 20 inauguration that have introduced, enacted, and protested changing immigration policies during these politically turbulent times. 
 
Participating artists include Julia Christensen, Ryan Dewey, Michelangelo Lovelace, Home Affairs (Arzu Ozkal, Claudia Pederson, Nanette Yannuzzi), Tony Ingrisano, Kelley O’Brien, Darice Polo, John C. Williams, and Megan Young.
 
The First 100+ Days will be on display through June 30 and is curated by SPACES executive director, Christina Vassallo, with assistance from Karl Anderson. The gallery is located at 2900 Detroit Ave. in Hingetown.

To complement the exhibition, SPACES is offering a number of companion events to further explore U.S, immigration policy.

FamilySPACES, Saturday, June 4, 2 – 4 p.m.: Art-making activities to help families talk with children about the changing world.
 
Sanctuary City Potluck, Thursday, June 8, 6 – 8 p.m.: Dinner and panel discussion on how to be a community ally.
 
Live Jury, Saturday, June 24, 2 – 4 pm: Artists and architects are invited to submit U.S.-Canada border wall designs to the Unofficial Global Barrier-Centric Design Competition. Shortlisted entries will be judged on this day before a live jury.
 
Fact or Fiction?, June 29, 6 – 8 p.m.: An evening of alternative fact trivia and print making, presented by April Bleakney. Attendees are invited to learn about the impact of the printing press in resistance efforts throughout history and to make a print to take home.
 
Additional events may be added. Check the SPACES event calendar for updates.

 

Iraqi kebobs, duck blood soup and hard to find Latino spirits — that's just for starters in this under-the-radar roundup of some the best (and little known) noshing in the 216.

Expanding its virtual reality series amid this year's 'Perspectives' offerings, Cleveland’s largest film fest aims to foster a technology still trying to find its footing in Hollywood.

On Friday, March 17, from 5 – 9 p.m., legendary local artist Shirley Aley Campbell’s rarely exhibited collection, “The Motorcyclists of the Seventies” will be on display at 78^th Street Studios in the second floor corridor and Suite 215.
 
The 13 large scale oil paintings were commissioned by local businessman Joseph Erdelac in 1973 and were completed in 1981. The resulting works are utterly captivating on their own, but they take on new dimension considering the background stories of the riders, which include "The Flying Angel" Debbie Lawler, who was a noted and prolific motorcycle jumper at a time when few women could successfully compete with the likes of Evel Knievel; America's “First Lady of Motorcycling” — pink Harley-riding Dot Robinson; and John Knoble and Bob 'Laco' Lawrence of the Hell's Angels Los Angeles Motorcycle Club.
 
Gene Wirwah, legal counsel for the American Motorcycle Association, helped Campbell choose her subjects.
 
Campbell, a 1947 Cleveland Institute of Art grad and 1986 Cleveland Arts Prize recipient, has work in the collections of the Cleveland Museum of Art, the Butler Institute of American Art and Case Western Reserve University, as well as private collections throughout the United States. Her work has been exhibited at major museums throughout the country.
 
"Motorcycles" will be on view through April 8 and will return this summer. Campbell will be on hand for tomorrow's opening to meet and chat with attendees and discuss her work.
 
For more information contact 78th Street Studios director Daniel Bush at 440-503-5506 or dan@78thstreetstudios.com.

 

Managing photographer Bob Perkoski gives Fresh Water readers a peek inside the Cleveland Institute of Art's 71st annual Student Independent Exhibition.

Billed as "Palettes for the Senses: Art + Scent Demystified," HEDGE Gallery's new show may be described any number of ways, but "demystified" probably isn't among them. Instead, the visual and olfactory show evokes things profoundly mystifying.
 
A collection of 11 local and national artists presents works in various media, each of which is paired with a scent carefully curated by Ann Bouterse of Indigo Perfumery.
 
Next to each offering, a glass cloche upon a pedestal houses a vial of perfume. Visitors are invited to lift the dome and inhale deeply of its upturned interior. The scents are immersive to the point of sensuality and beyond. They also impart an unexpected new dimension to the artworks that is surprisingly effective.
 
Try Nikki Woods' Sugar Shack paired with Sulmona by Coquillete Paris, Liz Maugens' Fractured Atlas and funky neon Facts of Life accented by Molecule 02 by Escentric Molecules or Rebecca Cross's Sheild (pink spikes) and Shield (green spikes) floating upon notes of Dupont Circle by monsillage.
 
This author will not attempt the journalistic version of a "dancing about architecture" faux pas and apply awkward descriptions to these transcendent and unique perfumes. Suffice it to say when you leave the show, the quiet and personal experience stays with you like the impression of a lover's gentle lips.
 
Readers are invited to judge for themselves at the opening reception tonight from 5 to 9 p.m. A  when Bouterse of Indigo will be present to discuss the creation of custom fragrances and the complex nature of the scents she curated for the show. This event is free and open to the public.
 
The gallery's regular hours are Tuesday through Friday: 11 a.m. to 5 p.m. and every third Friday from 11 a.m. to 9 p.m. Weekends and evenings by appointment. HEDGE is on the second floor of the 78th Street Studios.
 
"Palettes for the Senses: Art + Scent Demystified" will be on view through March 3.
 

The organization intends to prioritize programming accessibility and ensure that people across all races, incomes and education levels feel included in its programming and funding.
 

Two Cleveland Institute of Art graduates took the lessons they learned in the 216, became pioneers in web design and now helm one of Inc.'s fastest growing companies.

Fresh Water explores a quartet of Cleveland's ethnic houses of worship that endure in traditions of faith, history and culture.

Last summer, MOCA Cleveland's fourth floor Mueller Family and Rosalie + Morton Cohen Family Galleries featured the works of Mark Mothersbaugh in a multi-media explosion of color and playful commentary with everything from a mutated Scion to the Booji Boy mask of DEVO fame.
 
Last Friday, Adam Pendleton's Becoming Imperceptible took over the space. Like the Mothersbaugh show, it's an immersive experience full up with sound and visuals that reflect the man behind it all. Unlike last summer's offering, the current multi-media exhibition is void of color. The ceramic floor sculptures, framed Mylar prints, collage, silkscreens printed on mirror and two film installations are all depicted in black, white and gray.
 
While the two shows have commonalities, the narrative arc in time, politics and culture that separates them could not be more stark. When Mothersbaugh's Myopia debuted, the city was on the verge of the gentle summer months and giddy with the prospect of the Republican National Convention. Cleveland was, essentially, preparing for its close up.

Adam Pendleton, Black Lives Matter #3 (wall work), 2015
 
Now a scant eight months later, division and uncertainty cloud the days. The city is covered in snow after an extended and eerie January thaw. Protests have filled Public Square with women and encroached on Cleveland Hopkins. More such events are scheduled.
 
Such is the current backdrop for Becoming Imperceptible. Different incarnations of the collection previously appeared in New Orleans and Denver, but both of those events closed prior to November 8, 2016. Hence, like the America it reflects, the exhibition woke to a new day when it debuted last week.

Continue reading.

Jereme Westfall, owner and artist of Work of Arc Welding, prides himself on breathing new life into discarded objects.
 
A damaged cello Westfall purchased from a music store, for example, is now a lighted sculpture complete with ribbed metal wings. The instrument can no longer play a beautiful concerto, but it's still lovely to behold, says its owner.
 
From his workshop at Steelyard Commons, Westfall also welds a unique identity onto working lamps, clocks, shelving, fountains and wall hangings. Primarily focused on metals, the arts-centric entrepreneur "upcycles" junk into works he sells at gallery shows or on his Etsy site.

"I take garbage and instead of recycling it to its original form, I'm turning it into something that still has a use," says Westfall, 39. "I've got a basement filled with valves, springs and other stuff that inspires me."
 
Hard work comes at cost for customers, although some pieces can be had at lower prices than others. Westfall's cello sculpture, a product of 100 man hours and $500 in materials, sells for $3,100, while his lamps run from $320-$355. More affordable offerings include business card holders built from transmission gears, which are $35 each.  
 
Westfall opened his studio a year ago after receiving certification from the Lincoln Electric Welding School. Creating functional art full time wasn't his first thought upon entering the industry, however.
 
"I worked as a welder for awhile, then decided I wanted to make my own rules," Westfall says. "I started making my own stuff, went to some art shows, and things took off from there."
 
Westfall's steampunk/industrial style lends itself to rustic spaces or the average man cave, he notes. The Medina native tries to add something quirky to each piece, like a valve that acts as a dimmer for a lamp.
 
Going into 2017, Work of Arc has several months of back orders to fill, among them a conference table repurposed for an area diamond broker. The business is also busy showing its regional pride through Cavaliers and Ohio State metal wall art pieces.

As long as folks keep buying, Westfall is happy to continue making something out of nothing.

"The biggest thing for me is to be flexible," says Westfall. "I like doing a wide range of pieces rather than just one thing over and over again. There's such a wide variety, I never get bored."