The Sage Wisdom exhibition celebrates artists who have either maintained or advanced their work well past their 60’s. Claude Monet,long after having a career as a renowned and financially successful artist,  retreated to the beloved gardens of his home in Giverny where his gardens became his artistic obsession. He withdrew from the art world — and yet painted almost obsessively up until his death. This inward concentration and drive was to create art for his own private pleasure, and this is a characteristic of many artists have as they age.  

Artists over 65 possess a freedom to make their own artistic choices at the same time their creativity can also be constrained or reimagining by other things like limited mobility and changes in their health. This show partners with a collaborative discussion with the AAWR and celebrates the stories of inspiring artists making art beyond their 60’s. The work exhibited celebrates the artists shifts and changes  created in their earlier artistic developments from decades ago but also includes new work made for the show.. Featured artists include Fran Belkin, Hector Castellanos Lara, David Buttram, Don Harvey, Dan Rothenfeld, John Saile, Patricia Zinsmeister Parker and Susan E. Squires

Artworks made of multiple elements are not new to the modern era but contemporary artists have pushed their direction and visual potential. Through conceptual, metaphorical, and experimental lenses, artists literally make one object, or one ultimate work, out of many pieces. These components that evolve into a whole features a wide range of media and approaches—both two and three-dimensional—that expand this conversation.

This part-to-whole idea is further underscored with the print matrix, molds, assemblages, quilt components and other modes of serial-thinking where one or two pieces could stand in for the whole but a different message is conveyed when larger numbers of works are viewed together at once.

Featured artists are Libby Chaney, Dayzwhun, PJ Hargraves, Martin Higgins, Donna Webb, Russell Stephanchick, Brian Moran, Beth Lindenberger, Robert Wright and Donna Webb.

Image credit Beth Lindenberger

In 1796, Moses Cleaveland probably wasn’t thinking about how art would play a vital role in the cultural development of the city. It took about 80 years for artists to develop a presence in Cleveland. In 1876, Cleveland painter Archibald Willard exhibited his work “The Spirit of ’76” at The Centennial Exhibition in Philadelphia and returned to Cleveland to form the Cleveland Art Club. In 1878, women organized the first loan exhibition, and a few years later the Western Reserve School of Design for Women was founded which later became the Cleveland School of Art.  It wasn’t until 1916 that the Cleveland Museum of Art opened. Construction began on the iconic terminal tower in 1926 which was the second tallest building in the world when it was completed. In 1932 the Art Deco Guardians of transportation began to stand over traffic on the Lorain-Carnegie Bridge. The Free Stamp was created by Claes Oldenburg and Coosje van Bruggen in 1985 and has become one of many images that remind us of Cleveland.

Defamiliarization is artistic technique of presenting to audiences common things in an unfamiliar or strange way so they could gain new perspectives and see the world differently. This show reimagines Cleveland as if you are seeing it for the first time.

Co- Curators,  Cheryl Lynn Craver and Chevy shape this exhibition looking beyond the “Cleveland” iconography and seek out the unfamiliar people, places and events that are both challenging and beautiful. The Cleveland Show celebrates painting, printmaking, and photography by featured Northeast Ohio artists, Karen Beckwith, Jeff Benedetto, Tim Callaghan, Tim Herron, Ingrid Hoegner Leek, Jesse Rhinehart, Vivica Satterwhite, Joan Satow, Jeff Suntala, and Dawn Tekler

The Stranger Things Exhibition  is inspired by the hugely popular science fiction  horror drama series (by the same name) created by the Duffer Brothers that will culminate in 2024 with its fifth and final season. Set in the 1980’s in a fictional town called Hawkins, Indiana, the series centers on several mysteries and supernatural events occurring in the town. The influence of the Upside Down, a world that parallels this fictional town, starts to affect the unknowing residents of Hawkins in calamitous ways. The Boschian landscapes, tripped out visuals and other laboratory experiments go very wrong.  Subterranean landscapes and experiments abound where artists share in unusual and uncanny approaches to their ideas and process. Through Lenticular photographs, laboratory installations, casted works, objects d’art and special effects these works come together just in time for the most macabre time of year. image by Jon Kvassey

Jon Kvassay, Christine Bonner, Laura D’Alessandro, , Melissa English Campbell, Melissa Daubert, Chris Dean, Myron Gilbert, Connor Goodwin, Louise Bane Harris, Chester Hopkins-Bey,  Susie Underwood, Robin Van Lear, Jean Kondo Weigl, June Hund and Stephen Calhoun

 We have traded visceral mark making with a digital technology that blurs the line between authorship and originality. Digital mediation tools like tablets, projectors, Artificial Intelligence, and other software technologies distract us, while providing sophisticated imaging tools to enrich our experiences. We are represented by our online behaviors, enriched data sets and millions of meta-data points that become marks that lead us back to a different type of self-awareness. On Line harkens to artists who find folly and refuge as did the  Artist Paul Klee who said,  “A drawing is simply a line going for a walk”. 

On Line: drawing our reality is a show of strong observational and experimental  drawing that surveys regional artists that have taken the role of witness, offering a myriad of perspectives, showing us landscapes and skin patterning, and Tromp l‘oeil realism, hybrid fantasies, and abandoned supermarkets. The artists featured use drawing as the headliner for that walk through a turbulent time in our most recent collective history. 

The artists featured are Davon Brantley, Leigh Brooklyn, Dominick Cafarella, Charisse Harris, David M. Hicks, Tony Ingrisano, Charles Kanwischer. George Kozmon, Alyssa Lizzini, George Mauersberger, Eric Macalla, Joanna Mitchell, Michelle Muldrow, Michael Whitehead, and Kristina Walter

Intimacy is too often confined with matters of love; yet the word belongs more to trust, to faith. It denotes an act of revelation found in the simple gesture of sharing; bringing that which was previously hidden out from the shadows and into the light. In this exhibition, the artworks chosen explore intimacy in both their content and their form. They touch on  more singular intimacies; personal histories, dreams and desires. The works reflect on self- intimacy, experienced in solitude, and the intimacy shared between us, be it romantic or platonic, familial or fleeting.

There is, too, intimacy of familiar spaces, spaces we inhabit in both the world and in our minds. And then, there is the intimacy of objects, and our relationships to them; a cherished photograph, a processing of something delicate, or something so detailed and hidden that it is brought to light.  Velvet Kisses encompasses many intimacies. Intimacy between friends, family and even yourself. An ‘encounter’ extends beyond romantic love, and opens the show up to a certain type of multiplicity.

The show includes artists, Ewuresi Archer, Claire Bowman,  Adrian Eisenhower, Amy Casey, Ray Caspio, Brooke Inman, Helen Lardner, Megan Lubey, Greg Martin, Darius Steward, Kari Russell-Pool, Marc Petrovic,  Amber N Ford, Christine Ries, and Darius Steward, Qian Li

The artists in The Infinite Mix filter and play with the absurd in a time and space that seems so damn upside down and surreal.  It is very much like the moment in which Man Ray developed his early artistic approaches during the Dada movement. Shaped by the trauma of World War I and the emergence of a modern media culture—advancements made in communication technologies like radio and cinema shifted Dada artists and their disillusionment to more traditional modes of art making and experimentations with chance and spontaneity. Much like today, it was a moment in history that was all mixed up.

This exhibition includes artists who focus on collage, assemblage, photomontage, and mixed media that play with abstraction, conceptual art and surrealism. The Infinite Mix celebrates not only a diverse group of artists at different stages of their careers but reveals their process of bringing together disparate materials to create their ideations. Through skill and care, artists juxtapose unexpected elements and concepts in their work to tell many different stories.

Artists included are Robert Banks, Bruno Casiano, Bruce Checefsky, Abigail Cipar, Elizabeth Emery, Will Grimm, Ruth Green, Elaine Hullihen, Baila Litton, Barbara Martin, Linda McConaughy,  Amber McElreath, Ted Nowick, Cynthia Petry, Louis Ross, and Mark Soppeland.

Image by Bruce Checefsky called Mechanical Salsa, photogram

12 inch squared objects is a size that fairs so well with human adaptation and interaction. Children begin their first understanding of scale with the ruler. The standard sizes of throw pillows and wall clocks reflect this scale and like countless other tangible things from our humble daily lives. Tile and carpeting squares are 12x12. Standard frames are a foot squared. So it is here that this exhibition began.

Yards is pleased to present Foot Squared, a collective, dynamic group exhibition featuring over 100 local artists working in a 12 x 12 format. We challenged some of our favorite artists to work within a 12 x 12 inch space and left the rest up to them. The result is a stunning display of the endless possibilities contained within the bounds of the composition.

Working in a variety of media including painting, embroidery, sculpture, glass and beyond, each artist presents their unique style while adhering to the size parameters. Figures, landscapes and abstract forms dwell in each piece, inviting the viewer into the realm contained in each work.

Images is mixed media by Patricia Zinmeister Parker

Pablo Picasso created drawings in his sketchbook whereby pressing hard,  he would create an imprint that would transfer a faint trace to the following page. Greeted on the subsequent page, he would be provided with a new opportunity to alter the next image either  gradually or radically.

The opportunity to create multiples and develop work through a series is best celebrated with the disciplines of ceramics, bronze, glass, photo and print. The matrix, the mold, the cast and the contact sheet all celebrate the ways in which artists have played around with the variant, the duplicate, the edition, and serial imaging. The artists in this exhibition delve into this subject of the repeated form, the mother-board, the edition and its variants, and even the wide lens of multiple ways artists work within a series.

Yards Projects is pleased to present artists Shelly Ahern, April Bleakney, Margaret Collins, Scott Goss, Val Grossman,  Elyse Herrera, Jacques P. Jackson, Earl James, Jennifer Leach, Andrea LeBlond, Seth Nagelberg, Kelly Pontoni, Kevin Snipes, Trudy Wiesenberger, and Linda Zmina. Image by Shelly Ahern

Despite the honored position that Cleaveland holds in the city's history, it is however, the correct spelling and we have resulted in the incorrect “Cleveland” – without the extra "a." One legend has it that in 1830 the city's newspaper could not fit the "a" in its headline, so the city became Cleveland. Texts are now referred to as an activity of texting (and not unlike the story of our cities namesake origins) interpreting words and meaning can be squirrely business filled with different rules of expression that exist in our current day communication. Whether it is through efficiency or trends in language nuance in how and why we infuse tone into digital communication it is mostly the millennial generation that continues to innovate in this space. LOL!

Text Messages is a lively group exhibition of artists, working in a variety of mediums and genres, who incorporate, infuse or solely utilize text in their art practice. Through their employment of language and letterform as concept and design, these artists cultivate an inherently transformative partnership of imagery and text, posing, among many other questions. At YARDS, artists will display a compelling array of contemporary text-based works encompassing a wide variety of themes and concepts. The works on view will traverse diverse styles and sensibilities, delivered with skill, intelligence, wit and innovation through a myriad of themes ranging from public to personal and media including: illustration-neon, light installation, embroidery, assemblages, painting, and photography.

We are thrilled to showcase the artists Karl Anderson, Shadi Ayoub, Malcolm Barrett, Anna Chapman, Ron Copeland, Jeffry Chiplis, Paula Damm, Erin Guido, Brittany M. Hudak, Bob Kelemen, Micah Kraus, Melinda Placko, Sampson the Artist,  Jaylon Wright, and Rachel Yurkovich.

Show opens Thursday, September 1st with a reception from 5:30-8pm

Show runs till October 22nd

The guitarist Eric Clapton was known for his pioneering electric guitar work, acoustic and slide guitar and Dobro skills.  Equally impressive, was his interest in personally restringing his own guitar, to his liking, between song breaks, rather than having a roadie do it. This often-meant long pauses between songs,

which in turn, would prompt audience members to break out into a slow hand clap, thus giving him the nickname of “Slowhand”.

The Slow Art Movement is grounded with this Clapton dynamic, where the appreciation of slow accurate and intensive process as well as the savoring of artworks in a conscious and deliberate manner avoids the big gulp of the fast-paced, short attention spanned, tweeting society and culture.  Psychology Today studied people’s observation times on 6 masterpieces at the Met in NYC and found it to be only 17 seconds. Creatives and art in SLOWHAND quiet the pace of both the creation that impact the viewing experience and change the way we embrace and approach this meaning. The artists featured: Laurie Addis, Kate Budd, Ryn Clarke, Jill Eisert, Bob Herbst, Nancy Katz, Jacquie Kennedy, Myrya Johnson, Frank Oriti, Theadis Reagins, Katie Richards, Noel Reifel, Adrienne Slane and Judy Takacs.

Image by Theadis Reagins

The West 117 Foundation is pleased to announce a CALL FOR ARTISTS for its curated art show “REVEAL” highlighting works from established and up-and-coming LGBTQ+ artists and creatives. Presented at Yards Projects, a gallery within Worthington Yards, the show will be launched with a VIP event on Friday, December 3, 2021, with a public opening on December 11, 2021 from 12:00 – 4:00 p.m.  It will run through December 20, 2021. This exhibition will be curated by West 117 Foundation Board Members Laura Ruth Bidwell and Kyle Kidd.

The West 117 Foundation(Foundation) supports LGBTQ+ residents, entrepreneurs, artists, and community members of all ages.  From rental subsidies to arts and cultural programming, to entrepreneurship and upskilling opportunities, the Foundation aims to help level the playing field for northeast Ohio’s LGBTQ+ population and contribute to the long-term stability and viability of the Studio West community.

Drawing, painting and sculpting animals have always been a subject for artists throughout history, from the earliest cave paintings, Egyptian artist’s depictions of gods with animal heads, medieval manuscripts with mystical beasts and 19th-century Victorian artists creating paintings of their domestic pets.

During what scientists are calling the Anthropause, the unprecedented global slow down of human activity during the pandemic, animals from the seas, roaming the land and flying above experienced an altogether mixed bag as well. For those of us sheltering in place, the birds were not anymore in surplus singing their songs, we just slowed down as humans, drove less, and found ourselves listening to the birdcalls as if we had not ever heard their melodies before.

Globally, things shifted and changed, adoptions for dogs and cats skyrocketed, wildlife conservation projects paused, habitats for animals changed and for many of us, we observed and connected to furry, finny and feathery creatures more than ever before.

Artists Cathie Bleck,  Derek Brennan, Kathleen Browne, Katie Butler,  Cheryl Cochran  Lee Heinen, Michael High, Liz Maugans, Dinara Mirtalipova, Kortney K Niewierski, Gerry Shamray,   Yvonne Palkowitsh, James Ruby, Tyler Zeleny, and Kim Chapman explore the insights and phenomena, from companionship, love, and respect for the other living things flying, swimming and walking around us.    

As a general rule, nostalgia in art is frowned upon. It’s a shtick that makes people like your art more than they should, because it’s familiar, and sometimes stagnates as sentimentality. Nostalgia is viewed as an intellectual and aesthetic crutch that prevents cultural artifacts from reflecting their own epochs.

With that in mind, we are coming out of the darkest year of our times, and the artists in Uplift chisel form and content from throw-away, orphaned and abject materials of the past that carry with them the survival signifier. What comes next? It is jouissance and inventiveness. The art is here to lift and leverage us to new elevations and alternative vistas. These artists make predictions with a forecasters wonder that new things are coming around our corner. A positive vaccination of bright color, glee, joy and encouragement that we all need right now.

The ‘new normal’ is no longer something that is conceivable to us anymore in this pandemic era. Instead, the artists in Uplift adapt and innovate, resuscitating materials from the past to create contemporary content and future-leaning possibilities.

Featuring the wonderful and innovative artists Eleanor Anderson, Andy Dreamingwolf, Amber Esner, Connie Fu, J. Leigh Garcia, Amber Kempthorn, Loren Naji, Edward Parker, Ron Shelton, Judith Salomon, Stephen Yusko, and Jonathan Wayne.

Image by Amber Kempthorn

Painting and drawing have been primary modes of expression. One of the methods painters often use is to place an initial drawing on the surface using graphite or charcoal.  This is the just the beginning, or the threshold to how painters begin to vision their works. Since drawing is capable of producing lines—the one thing that doesn’t exist in nature—it is important to keep the mindset of a painter and allow it to emerge. Painters traditionally rely on shapes of value and color to define the painting instead of the line of the draftsman (another topic in itself). One way of keeping the attitude of a painter is to use a brush and make things soluble. Whether by spreading pastel with a wet solution, or a watercolor underpainting, acrylic, oil or another wet start that soon achieves the painterly aesthetic. 

The portraits, interiors, abstracts and still lives in Drawn to Paint, speak to the diversity of both the ease and tensions embodied in these applications, formations, and processes that artists for centuries have negotiated with abundantly. Both techniques create richly tactile surfaces that contribute to the development and vitality of their work. Drawn to Paint features an array of wonderful artists taking risks and celebrating the tensions between these two approaches. 

Artists include: Davon Brantley, Mark Howard, Sarah Curry, Amirah Cunningham, Todd Hoak, Anna Arnold, Alexandria Couch, Dan Miller, Morgan Mansfield, Lauren McKenzie, Lizzi Arnholt, Ryan Craycraft, and Ian Burleson.

People of a certain generation may remember the character Jack Tripper made famous in the 1977 sitcom Three’s Company. Tripper was able to live in an amicable threesome with Susan Summers and Joyce Dewitt because he charaded as a gay man, to appease his landlord’s criteria for renting to three tenants. The show, a farce, chronicles the escapades and hijinks of the trio’s constant misunderstandings, social lives, and financial struggles. Tripper, played by actor John Ritter, was a physical comedian, who was always tripping over his words and almost every object in his way. In the late-seventies era, the show was pretty trippy with outlandish hippie attire, moo-moos, plaid slacks, loud patterned interiors, carried over from the 60’s.

Beyond the vibrant colors, discordant patterns and the waning LSD culture, there is a transcending psychadelic experience and a “trip” if you will. It pioneers from Surrealism. Tribal art, Trance art originated from Peru, had spiritual influences about the nature and origins of the universe, throw in some MC Escher, and others. The history of art never tires of the eye and mind-bending approaches.

Trippy Trip takes viewers off-road to eye-popping psychadelic and fractal-ed worlds, visual feasts of alchemy, primordial Boschian landscapes and non-sensical obstacles that detour our exchange and frakly, upend us. The unexplainable paranormal stories, in between states, abd trap doors are what you will find here at YARDS Projects, and it will be a TRIP!

Featured artists include: Steve Ehret, Chad Fedorovich, Angelica Pozo, Ed Raffel, Casey Vogt, Sean Jason Kelly, Joyce Morrow Jones, Kasumi, Rita Montlack, Mark Brabant, Evie Zimmer, Sean Wheeler, Will Sanchez and Catherine Butler.

What happens when two independent artists have a shared partnership in the work they make together? What occurs when their private and professional practices collide as close friends, family members or life partners?  Exhibiting together are Robin Robinson/Gary Williams, Laila Voss/Bruce Edwards, Todd Leech/Stephanie Craig, Alessandro Ravagnan/Devin Hinzo,  Annie Peters/A.D.Peters, Erin Guido/John Paul Costello,  Kate Snow/Eagan Rackley, Jacques Payne Jackson/Kristi Copez, Pita Brooks/Kristen Rogers, Wendy Partridge/Lisa Rainsong. 

Two of the artists in DUO, Laila Voss and Bruce Edwards have shared a studio for 20+ years. Bruce has been making screen prints from photographs for the last 10 years, coming from a practice of sculpture and performance, while Laila has been doing large scale multi-media installations, Sculptures, Drawings and pubic art projects. The most recent work that Laila has been creating are images of water and sky rendered in oil paint sticks on paper. Each piece has a strong horizon and a vibrant textured surface.

Bruce has been creating two bodies of work that relate to his relationship with his father and photographs that were taken by his dad and rendered in print by Bruce. When this series was complete, Bruce began a series of pieces that responded to the work that Laila had been creating, he started taking photographs of Lake Erie and using these to make prints, exploring a smaller scale that is more intimate. A dialogue occurred between them inspired by the lake and expansive sky near their home in North Collinwood. 

These dynamic DUOS will present collaborations, cross-disciplinary and synergistic works made independently or collaboratively. DUO will celebrate the respective influences, support, challenges and vicarious impact of how artists make and produce together.

Image Bruce Edwards Horizon #3 Silkscreen

The Women Picturing Cleveland Exhibition started as the ‘perfect vision’ for a show scheduled back in March in the year of 2020. Clearly, this show has significantly shifted gears. What has not changed is the number of talented and active women photographers shooting pictures here in Cleveland (and beyond). Many of the featured artists are mentoring younger women as mothers, grandmothers, daughters, university faculty members, teachers, activists and advocates who range in age from 18-83. The city itself  becomes a dominant theme in this exhibition, from Cairo to Twinsburg to North Collinwood, through the settings of the Warehouse District, NASA and the industrial flats.  Yards Projects is thrilled to present the women who have shaped Cleveland photography which include…Alaina Battle, Bridget Caswell, Hadley K Conner, Laura D'Allesandro, Amber N Ford, Jennie Jones, Nancy McEntee, Yana Mikho-Misho, Anastasia Pantsios, Lena Simovic aka Atomika, and Shari Wilkins. 

In partnership with The Collective Arts Network & Yards Projects @ Worthington Yards

Artists generally have an overflowing volume of work that is ongoing and never ceases to stop. Artists make work so they can bring it to life, because they are driven to see what it is going to look like.  When the world shut down, artists did not.  Yards Projects at Worthington Yards and the Collective Arts Network team up to showcase the work that was produced during this shut down period. As studios, galleries and many community maker spaces are opening, we wanted to create a space to show the work that was made during this historical time.

 Artists make work that chronicles cultural shifts and the historic moments of social change. This makes the task all the more difficult when so many are isolated in their own homes.  Artists changed their studio practice because their community shops, dark rooms, ateliers, and fabrication spaces were closed as well. Artists took risks, made work differently, and opened themselves up to new approaches in their work. We’d love to see what the art from the people who don’t necessarily call themselves artists made during this time too.  

 Artists depend on people being able to see that work. They depend on their followers, new and old, having disposable income to put towards artworks, as well as philanthropic organizations who often provide the financial backing for grants, commissioned projects or special events. Both have been nearly wiped out by the ‘shelter-in-place’. Artists had shows that were postponed indefinitely and yet their making never stopped. 

 Many artists have not been able to get all the ideas in their heads out and the quarantine was the opportunity for them to press pause. The Shut Down gave them the time to work through some of those concepts that they may have overlooked in their previous practice.

 This time has also given creatives a platform to share their work in new ways and continue to touch people’s minds and emotions from the safety of our homes. The process is simple…contact Liz Maugans at lizmaugans@gmail.comor yardsprojects@gmail.comand tell her you are interested. She will send you a form that can be signed and attached when you drop the work off on June 20thbetween 12-4pm at 725 Johnson Court. 

 Call by appointment 216 570-0324. ART MADE IN THE SHUT DOWN exhibition is up and we have extended open hours June 26th 12-4pm.

A ZOOM conversation will take place on Saturday July 11th at 11:00 where artists will be discussing what this time was like for their creativity and process. https://www.facebook.com/events/321207102205238/

https://us02web.zoom.us/j/83327145758?pwd=a29OODhwOFhrVjRMcmRydE1UcHcrQT09

July 11th Noon-4pm

July 25th Noon-4pm

725 Johnson Court Worthington Yards on street parking West 6th and West 9th, lot available at end of Johnson Court

Other Extended open Gallery Hours are Saturday July 11th from noon-4pm and Saturday July 25th from noon-4pm

ACCESS: Liz Maugans will be available by appointment only and will have extended Open Hours at the Gallery from 12-3pm

Trade Marks examines the challenges regional artists face who hug the commercial field and art world in their practices. These artists understand that the dual life of trade-off better than anyone. They produce their work at a rapid pace to keep up with the commercial market, seek profit and recognition, and generally produce art that can please themselves and their clients. The exhibition considers the impact commercial art has on the NEO avant-garde and offers a fresh view on the artists tenuous relationship to a 21st century torn and liberated marketplace. 

Trade Marks provides these artists with creative license to flex their own ideas apart from their day jobs, corporate clients , and the commision-expectations of others. YARDS will collaborate with Northern Ohio Illustrators (NOIS) and American Institute of Graphic Arts (AIGA) to talk about these intersections and speak more directly about the best practices for contracted work, client-artist expectations and other negotiations that hug these two worlds.

Trade Marks II is features the work of Claire Campbell, Jamal Collins, Randall Slaughter, Stephen Mastrionni, Kate Parland, Christy Gray, Georgio Sabino III, Bruce Buchanan, Bob Peck, Marie Bukowski, Jeff Janis, Dru Christine, Rustin McCann, and Karen Beckwith.

Image by Randall Slaughter.

Co-hosts: Geno Apollonaire and Trevor Yasinow

ART/VENTURES: March 21st 10 AM

Visit with Bob Peck and Stamy Paul to Graffiti Heart

Resident’s Select 2020 Exhibition 

Yards Projects @ Worthington Yards presents a new way of thinking about how artworks are activated in live and work places where other public and private institutions cannot. A broader community, outside the art-converted community gets direct access to some of the best contemporary art from this region that reflects the diversity, history and culture of Cleveland.

The Resident’s Select Exhibition is annual exhibition providing a different, and more everyday type of engagement, for newcomers and converts to the arts.  Unlike attending a gallery or museum exhibition,  it embeds an appreciation of contemporary art as something that can enhance the lives of those who actually live in the space where the exhibitions occur. It speaks to the connective culture by sharing the Cleveland stories and perspectives of the artists very directly to those who get to interact with the work most. . 

Yards Projects has an open, (and free) submission process each year (with an August 30th deadline) , and upon receipt of over 70 submissions, 6 residents and staffers from Worthington Yards got to select the work and participate in the curatorial and programming decisions. This provided newcomers to the art ecosystem with agency and “behind-the-scenes” knowledge in the ways in which artists think, process and exhibit their work. 

The artists selected this year are Donna Coleman, Lisa Schonberg, Eva Kwong, Samantha Bias, Jordan Mastrocola, Tricia Kaman, Lucas Patrick,   Jessie Horning, Justin Brennan, Buzz Szilagyi, Don Penn, Kate Snow