Beyond the Surface -- Nine local artists converge in this recently opened, airy, and elegant 2,800-square-foot space at the Galleria. The common thread is a special attention to surface, giving all the works a three-dimensional appeal. Tim Haas's found-object construction, "Meghan's Trip on Steel," shows a woman looking in at three vertically aligned metal stars, screwed into the background. An antique-looking measuring tape at the bottom right corner suggests the woman's desire for success and the pressure she feels to measure up. Douglas Max Utter's tar-thickened paint on canvas is colorful yet muted. Matthew Dibble's Plexiglass series, featuring blue sheets of plastic on a styrofoam base, is the only sour note. Although made to resemble water, the material's simplicity and unpleasant aesthetics look out of place in an otherwise rich display. This show's strength is that while the images are powerful and defined, their ultimate interpretation is often left to the viewer. Through May 19 at Thrive -- An Artspace, 1301 East 9th Street, 216-479-0303. -- Michel
Curve -- Hair pomade on the walls may sound like a scene from Barbershop gone bad, but Kori Newkirk thinks it's a good idea. His effort here is noteworthy, the results are less so. Giant fingerprints, composed of spots of pomade, are painted directly onto white walls, the result of days of work for Newkirk and his team of assistants. Reminiscent of fingerprinting, the work alludes to crime and racism; the goo itself is a reference to African-American culture, where local hair salons often play an important social role. The issue of identity is at the forefront: There's nothing more unique than an individual's fingerprints. Newkirk's exploration of unconventional media gives new meaning to the phrase "The medium is the message." The downfall of that idea is that one must read the adjacent label to know the "paint" is actually hair product. And without knowing, the work takes on a sort of uni-dimensional aspect. After all, any common criminal -- or artist, for that matter -- can leave fingerprints on a wall. Through May 23 at MOCA, 8501 Carnegie Avenue, 216-421-8671. -- Michel
Garry Fabian Miller Photographs --Is it really a photograph if a camera is not involved? Surprisingly, yes. British photographer Garry Fabian Miller's dye destruction prints rely on a photographic technique employed in the 19th century, before the camera was invented. In an antiquated procedure, Miller passes light through filters and cylinders of colored water onto prepared paper. The effect is fantastic. Minimal forms infused with glowing white light radiate from the paper, much as Mark Rothko's color-field forms radiated from their canvases in the 1950s and '60s. Although less warm than Rothko's paintings, the prints are captivating; the viewer is drawn in by the entrancing light, as if trying to see into the center of the sun. Through July 22 at the Cleveland Museum of Art, 11150 East Boulevard, 216-421-7340. -- Tami Miller
Heads and Tales -- Though known for his illustration and design work, Michael Lotenero's new works on paper provide a glimpse into the more serious side of this Pennsylvania-based artist. Lotenero's expressive artworks -- with simple color palettes and tense lines -- exhibit a subdued, almost melancholy sentiment. There is strong emphasis on the human body. Several of the figures recede or diminish into fine lines, as if to question their own solidity and worth, creating a contemplative effect. Born in Cleveland, Lotenero studied at the Art Institute of Pittsburgh, where he continues to live. His artwork has been shown nationally, and his design work has included commissions from such big-name clients as Nintendo, IBM and Panasonic. He also produces editorial illustrations, which have been featured in Speak and Raygun. Through May 14th at Bockrath Gallery, 2026 Murray Hill Road, 216-721-5990. -- Miller
In Black and White --The black-and-white works by this show's four artists make a surprisingly colorful impression. Kristen Regas's Blissful series -- intricate, playful figures that could be mistaken for the royal family in a deck of cards -- is made up of graphite illustrations and acrylics on canvas that are larger reproductions of the drawings. Most puzzling are Wayland T. Whitley II's pastels and mixed media: The recurring little round face he uses in all four of his pieces has a sinister quality, making it hard to tell whether it's happy or sad. The show reveals not only that there are many shades of gray, but also that black and white have tonal variations that range from cool to warm, depending on the paint or photographic paper used. Also not to be missed is Mosaic's selection of unique handmade soaps, incense, and candles, as well as an interesting display of silver and beaded jewelry by local artists. Through April 23 at Mosaic, 16860 Lorain Avenue, 216-252-2099. -- Michel
It's a Wonderful Life: Psychodrama in Contemporary Painting --The 49 works that make up this Spaces show address death, violence, and other episodes of daily living gone wrong. Twenty-four artists, working in a diverse array of contemporary genres, present intimate glimpses into the darker parts of their psyches; the overall effect, unsurprisingly, is rather gloomy and disjointed. Jason Sleurs's eye-catching, somewhat grotesque animal paintings (an otter aggressively gnawing at a starfish; a beaver mounting a platypus) collide with Marlene Dumas's watercolor portrait of an obnoxious kid ("Rotten Child"). A troubled childhood inspired Henry Darger's work; his lingering pain is palpable in the fascinating watercolor "Free Child Prisoners," in which numerous pretty little girls are fleeing what looks like a series of explosions on the horizon. But if the show's range of themes and colors is exhilarating, its general pessimism can be overwhelming. For a more jovial frolic, the 1947 film of the same name is a safer bet. Through May 14 at Spaces, 2220 Superior Viaduct, 216-621-2314. -- Michel
Modern American Masters: Highlights From the Gill and Tommy LiPuma Collection -- Native Clevelander Tommy LiPuma's eye for art rivals his ear for music. Nominated for 30 Grammys, the renowned producer also cultivated an in-depth knowledge of modern American art, his passion for which is reflected in the 24 works on display. It's an overview of what LiPuma considers to be the best by American modernists from the early 20th century. Indeed, paintings by Marsden Hartley, Arnold Friedman, Arthur Dove, John Marin, and John Graham -- all underappreciated gems -- are perfect examples of how the use of pure, luminous color and intense texture revolutionized the art world and spawned abstract expressionism. A fine initiation to underexposed American talent, the show also highlights the pleasure art can provide for people from all walks of life. Also on view, Burchfield to Schreckengost: Cleveland Art of the Jazz Age (through July 18), a celebration of rarely seen works by other Clevelanders who give the city a good name. Though July 28 at the Cleveland Museum of Art, 11150 East Boulevard, 216-421-7350. -- Michel
Salvador Dalí: Master of Surrealism --Masterfully etched details and expertly created splashes of color only begin to describe the nearly 80 works on display, which focus on Dalí's fascination with the story of Faust, mythology, and sexuality between the 1930s and the late '60s. Famous for his dreamlike, meticulous depictions of daring themes, the Surrealist constantly explored techniques that made his work all the more fascinating: In the large illustration "Medusa," the subject's hair was created by throwing an ink- and acid-soaked octopus at the image. On another wall, two large Aubusson tapestries are rare and beautiful reproductions of Dalí's art. His work was often outrageous, sometimes classic, but always an interesting glimpse into the mind of a highly original man. The same goes for this show. That Contessa has succeeded in procuring such an extensive collection is commendable, and a considerable highlight for Cleveland's art scene. Through April 30 at Contessa Gallery, 24667 Cedar Road (Legacy Village), Lyndhurst, 216-382-7800. -- Michel
Senenkunya: Many Voices, One Family -- Everyday objects displayed in their cultural context create an intimate portrait of life in West Africa. Photographs by Peggy Turbett (photo editor for The Plain Dealer) document her visit to Mali in 2002: Colorful rituals and the daily tasks of women are pictured in vibrant, large-scale images, revealing an alternative West African reality that has nothing to do with war or poverty. On the main floor, artifacts are displayed alongside life-sized reproductions of village homes and other structures. Among the highlights: the Toga, a decision-making area with a low ceiling that forces village men to sit down, thus eliminating height inequalities that might upset the balance of power. Another realistic scene is a market cart, strewn with hanging fruit and resting alongside the facade of a 13th-century mud mosque. In this way, utilitarian objects take on resounding new life as art. It's an engaging, hugely enlightening experience. Through August 29 at the Museum of Natural History, 1 Wade Oval Drive, 216-231-4600. -- Michel
Small Monuments -- The word "monument" conjures images of the Taj Mahal or the Statue of Liberty. This inaugural exhibit at MOCA's Sky Lounge delivers on the "small," but not much else. Small-format paintings and drawings are meant to examine the relationship between monuments and public and private space. The title seems far-fetched for this selection of works, which have little to do with the subject or even with each other. Charles Kanswisher's Real Estate Drawings -- graphite replicas of houses based on photographs of real estate -- depict typical Ohio architecture and vacant land. Problem is, the homes don't look quite old enough to be considered monuments, nor are they particularly remarkable in any way. Only Christine Kuper's abstract-meets-representational urban landscapes might fit the bill: Her paintings are both aesthetically pleasing and reminiscent of interesting locations. Sky Lounge is 95 linear feet of wall space on MOCA's mezzanine level, dedicated to showcasing emerging local artists. It's an exciting new space; sadly, its inaugural exhibit can't match its appeal. Through May 23 at MOCA, 8501 Carnegie Avenue, 216-421-8671. -- Michel
