Dustin London @ Holding House

Exterior, Holding House Gallery, 2016

Heading west on Michigan Avenue in Detroit, about five blocks past I-96 you will find the Holding House Gallery on the north side of the street, almost invisible in this older urban neighborhood. Those are glass blocks you see covering the front of the building (void of any signage), providing beautiful interior illumination that diffuses light evenly. It has an appeal unto itself.

Dustin London, Installation image, Oil on Canvas, Courtesy of Holding House, 2018

As part of Detroit Art Week, the gallery opened with the abstract work of Dustin London, Daybreak, an artist who also is an Assistant Professor in the School of Art & Design at Eastern Michigan University.  Holding House Director Andrea Eckert says, “Signals of information marked with repeated intervals of paint shows London’s preference for mesmeric processes. London presents the value of accumulation in a series of chromatic oil paintings. Through planned layers of color, the paintings resolve into a playful landscape of shape and form.”

Dustin London, Palindrome, 52 x 62, Oil on Canvas,

When I first experienced the work, especially the painting Palindrome,I was attracted to the forms and color combinations.  I immediately did a mental search for a broader context. The first thing that came to me was Russian Constructivism, circa 1920.  Artists like Paul Gadegaard, or Alexandra Exter, who did their work nearly a hundred years ago. Compared to London’s abstractions, there are similar elements you would find in Russian Avant-Garde Constructivism, recently on exhibition at the Museum of Modern Art in New York City, 2017.

London’s overall green-based composition contrasts shape, line and form.  Standing at a distance, the viewer gets a hard edge that defines the shape, something like Frank Stella, who used tape to create the edge, but upon closer observation, London’s edge is produced using a brush in a very consistent square stroke of oil paint. The circular gradation is created by the line work.  Lines are solid and perforated, while the picture plane is divided in half.  The foreground on a light green background juxtaposes to this olive green background, both engulfing an amoeba-like shape.  What is powerful is that we are left not sure what we are seeing or where it fits into our universe, often referred to as original.

Dustin London, Oil on Canvas, Detail, 2017

When asked in a recent interview in Artspace 2013 why impermanence is important to his work, London answers, “Just before I started making these I was interested in ephemeral visual moments but was making paintings on canvas that were essentially descriptions of experiences. For example, a simple line may have referred to a shape caught out of my periphery while walking my dog. At a certain point, it seemed more appropriate to cut out the middle-man, as it were, and allow the work itself to become impermanent rather than refer to impermanence through a rather concrete form. This corresponded to an ongoing desire for freshness and openness in the work, never wanting to close anything down. It seemed appropriate to shift the work to a place where it was more about a process, where a piece became an action or decision in a specific place and specific time, inseparable from me as a living, breathing human being, where the piece also had a certain lifespan. Documenting these actions just felt natural.”

Dustin London, R-A-T-Q, 70 x 60″, Oil on Canvas, 2017

Constructivism was the last art movement to flourish in the 20th century as a modern and influential movement in Russia.  It evolved just as the Bolsheviks came to power in 1917, and its purpose was to replace traditional composition with a focus on the construction of materials. Concerned with the use of ‘real materials in real space,’ the movement sought to use art as a tool for the common good, much in line with the Communist principles of the new Russian regime. Many of the Russian Constructivist works from this period involve projects in architecture, and bled into typography and graphics, ultimately having an effect on Western art.

This journey into abstraction goes back in time and comes out new.  This is the way of visual art, hence the saying “there is nothing new under the sun.”  The vastness and variety of visual art today is a reconstitution of our past, whether a thousand, hundreds or even only ten years past.

Expressionism, Impressionism, Cubism, Minimalism, Figurative, Landscape, and Abstract art live on in time as demonstrated here by the work of Dustin London.

Dustin London’s work has been exhibited at venues including NURTUREart in Brooklyn, Manifest Gallery in Cincinnati, Emily Davis Gallery at the University of Akron, the Untitled Art Fair in Miami Beach, and TSA Gallery in Brooklyn. He has been an artist-in-residence at Yaddo, Willapa Bay AiR, Jentel, Vermont Studio Center, and the Kimmel Harding Nelson Center for the Arts. London is a recipient of the New York Foundation for the Arts Fellowship and his work has been featured in New American Paintings, Fresh Paint Magazine, Paint Pulse Magazine, and The New York Times. He received a BFA from Michigan State University and an MFA from the University of Pennsylvania.

Holding House –Dustin London,  Daybreak,  Solo Exhibition, July 22 – 28, 2018

 

Mirrors and Intersections @ Grand Rapids Art Museum

Anila Quayyum Agha (American, b. Pakistan 1965). Intersections, 2013. Laser-cut wood, 6.5 x 6.5 x 6.5 feet. Courtesy of the Artist.

Anila Quayyum Agha’s ethereal sculptural installation Intersections is likely the most photographed work of art in Grand Rapids at the moment, surpassing even the city’s iconic, blazing-red Calder.  At Artprize 2014 (the city’s annual public-art festival), Intersections won both the People’s Choice and Judges’ Choice awards, and now, through the end of Summer, it returns to the Grand Rapids Art Museum where it made its auspicious debut.  It was a work calculatedly fashioned to appeal across social and cultural demographics, and if Instagramability is a worthy criterion of a work’s public appeal, then the artist certainly succeeded.

The work is the star of a pair of closely related solo exhibitions on view in adjacent gallery spaces, one showcasing Agha, and the other featuring Iranian artist Monir Shaharoudy Farmanfarmaian. There’s a thematic continuity between their distinctive styles that make the pairing work almost as a single show. Both artists apply sophisticated tessellations and kaleidoscopic patters so characteristic of visual culture in the pan-Arab world, and both artists explore the visual possibilities of reflected light and cast shadow.  Their works are also both—to some degree– participatory and interactive.

Monir Shaharoudy Farmanfarmaian, Installation image, Courtesy of the Grand Rapids Art Museum

The first exhibition space contains Mirror Variations, Farmanfarmaian’s luminous glass sculptures which represent an inventive fusion of traditional Persian art mixed with the American abstraction the artist encountered during her formative years in New York between 1945 and 1957, where she met art-world luminaries like Willem de Kooning and Louise Nevelson.  (In 2015 her work came full circle; New York’s Guggenheim awarded the artist her first solo American show—perhaps a curiously late honor for an artist and socialite of such import that she and her husband once played host to President John and Jackie Kennedy in Tehran.)

Inspired both by Arabic architecture and by principles of Sufi geometry, Farmanfarmaian’s work applies repetition and progression of simple shapes.  Like mosaics in 3D, her sculptures comprise tens of thousands of individual glass components which reflect light, diffusing fragmented geometric shapes across the gallery walls, ceiling, and floor.   One pentagonal sculpture—though prohibitively stowed behind glass on a pedestal—reflects light onto the ceiling and into the viewer’s space, directly involving the GRAM’s architecture into her work.  The lack of artisans in the United States able to help execute such detailed cut-glass work as this is partly why the artist eventually returned to her home country in 2004 after over 20 years of exile initiated by the Iranian Revolution.

Monir Farmanfarmaian (Iranian, b. 1924). Tir (Convertible Series), 2015. Mirror, reverse-glass painting, plaster on wood, 63 x 63 x 6 inches

These stately, ordered sculptures might seem the polar opposite of the often noisy, raucous world of the Postwar New York School, but some of her hanging sculptures invite a certain relinquishment of control that seems to parallel the likes of Robert Rauschenberg—particularly his playfully interactive Synapsis Shuffle (incidentally, a series of paintings which the GRAM exhibited in this very room back in 2012). Her Convertible series explores the myriad of varying geometric possibilities that can be created with a set of identical, interlocking shapes.  Each polygonic component is a fairly complex work in its own right, but the specific way they are arranged on the wall remains entirely fluid, ever-changing wherever they happen to be installed.

The second major gallery space is entirely devoted to Agha’s Intersections.  The work is a suspended black cube (about 7 feet square) crafted out of laser-cut wood, and inside a high-power bulb blasts the form’s intricate geometric shadows onto the gallery’s walls, ceiling, and floor, transforming every cubic millimeter of the space.  Its patterns derive from architectural elements of Spain’s Alhambra,the famed 14thcentury Nasarid dynasty palace and fortress.   It’s visually striking, but the work is conceptual as well.  Agha states that growing up in Pakistan as a female, she was not allowed to enter mosques, and with Intersections, wished to create a work which was open and accessible across all demographics.  Indeed, there’s something democratic and participatory about seeing yourself silhouetted on the gallery wall alongside the shadows of other visitors, all invariably with phones drawn, ready to share the moment on social media.

Video interview with Agha

In an auxiliary exhibition space, viewers confront a final bit of shadowplay.  A circular sculpture comprising  hundreds of identical triangular shapes is affixed from a wall and tactfully illuminated from three different angles.  The shadows it casts resemble a mash-up of a Venn-diagram and a series of tessellations by M.C. Escher.

Together, Mirror Variations and Intersections both manage to tactfully translate centuries-old Arabic visual culture into the language of 21stCentury abstraction.  And both artists manipulate light to transform a gallery space, creating works that transcend the beautiful and perhaps approach the sublime.  Their works slow us down—even in an art museum, after all, one is tempted to rush through to take everything in, spending, according to one study, less than 30 seconds in front of each painting.  But here the artists invite us to linger, and these exhibitions suppress our impulse to hurriedly move on the next thing.

Grand Rapids Museum  – through August 26, 2018

Carole Harris & Allie McGhee @ Detroit Institute of Arts

Installation Image, Courtesy of the Detroit Art Review

As part of the kick-off for the Detroit Art Week events, the Detroit Institute of Arts mounted an exhibition coordinated by Laurie Ann Farrell, department head of contemporary art at the museum and curated by Amani Olu, Repetition, Rhythm, and Vocab, features the visual art of Carole Harris and Allie McGhee. Both artists have been prominent in the Detroit art community for over forty years, each delivering their own individual language of abstraction. The celebration commenced with a talk, and this writer was pleasantly surprised to see a full house of guests in the DIA auditorium where the artists gave a part biographical, part philosophical, talk just before the opening of their two-person exhibition in the second floor Robinson Gallery.

Allie McGhee & Carole Harris portrait Image Courtesy of Kate Gowan

Introduced by DIA Director Salvador Salort-Pons, with remarks by Farrell, the talk was moderated by Amani Olu, the producer/organizer of the new Detroit Art Week.  Originally from Philadelphia, later working in New York City, Olu moved to Detroit in 2016 and founded a business to provide marketing and business consulting services to individuals, companies and organizations in the arts.  He said, “The overall vision is that we want to do our part to establish Detroit as a global destination for contemporary art just like every other major city.”

As the talk got underway, both artists shared many common themes, as they both were educated at Detroit’s Cass Technical High School and attended state colleges, Harris at Wayne State University, and McGhee at Eastern Michigan University.  They both mentioned the importance of early family support in their pursuit of art, as each told stories about their mother’s influence, and both did not see their work as part of any political movement, or part of Detroit’s revitalization, but more about a constant internal energy to create and evolve as an artist, regardless of politics or race. Harris mentioned her work was continually evolving, and McGhee suggested the influence of science, and both gave credit to the impact of the Kresge Foundation for the Arts.

I have written about both artists multiple times for exhibitions at the N’Namdi Center for Contemporary Art and most recently at the Hill Gallery where both artists’ work were present. Allie McGhee has a long exhibition record starting back in in the mid-1970’s.  McGhee says he favors using sticks to apply paint rather than brushes. Rejecting the brush, he pulls and scrapes the paint across his material, whether it is canvas or paper. The action of the stick allows McGhee’s hands to interact with the paint and the surface in a visceral way, where the thin paint spatters as he arranges his lathe-like constructions. He has often folded thick painted paper into shapes that display themselves as objects on the wall.

Allie McGhee, Strata Data, Acrylic and Enamel on canvas, 2008

Music is an apt metaphor for McGhee’s methodology. Miles Davis, one of the artist’s favorite musicians, was an explorer of musical forms who gave up traditional jazz in favor of improvisation. Likewise, McGhee has talked about the art of experimentation, and working every day to explore a variety of paint mediums on a vast range of materials, from canvas to paper, window shades, fiberglass, wallpaper and cardboard.

As I wrote about his exhibition Now & Then at the N’Namdi Center for Contemporary Art, “ [McGhee’s] emphasis on discovered and spontaneous correlations that are twisted, crushed and crumpled, remind this writer of John Chamberlain, who worked in a similar fashion but mostly with metal and automobile parts. Given the time period of Allie McGhee’s formative years, the obvious influence here is Abstract Expressionism with shades of Willem de Kooning and Franz Kline that, despite a seemingly spontaneous appearance, maintains a balance of chaos and control.”  The steady march of fluid and spontaneous abstract expressionism has elevated the work of Allie McGhee to a significant force in Detroit alongside artists like Al Loving, Sam Gilliam and Charles McGee.

Allie McGhee, Birthday Eclipse, 48 36″ Acrylic & Oil on canvas

Carole Harris has been called a needle artist, a quilt artist and a fiber artist, but her work and life seem to have always been in transition.  Now her works of art are titled mixed media textile, and she seems most comfortable being described as a visual artist. It has been a journey for Harris whose mother introduced her to needle arts at an early age while teaching her embroidery and crocheting.  She has had a career as an interior designer working with architectural firms, but the road has led her to express herself with stand-alone mixed media constructions that hang on the wall.  “My work relies on improvisation. I am fascinated with hue and pattern, often drawing inspiration from the color, energy, and movement. It’s like the rhythms of ethnographic rituals as well as jazz, blues, and gospel music that I have learned growing up in Detroit.”

Carole Harris, Mixed Media Textile, 42 x 53″, 2017

The first thing that jumps out from the work Bearing Witnessis not her choice of material, but her use of color, form and composition.  The strength she demonstrates draws on her informal use of space, the counter-play of color, and the texture given to torn shapes and line work.

When I wrote about her work in April 2016, I described it like this: “For visual artists who quilt, Harris’s work transcends the traditional expectations we think of when mentioning quilting. In a web-based reproduction, we see an abstract painting, dynamic in the use of color, line, shape and form. It’s only on closer observation that one realizes these are compositions executed using embroidery, stitchery and multiple patterns of cotton, silks and hand-dyed fabric.”

Glen Mannisto wrote for the Detroit Art Review about Carole Harris’s solo exhibition at University of Michigan NCRC Rotunda Gallery. “Bearing Witnessis a tour de force of contemporary image making. It amalgamates not only Harris’s quilt-making magic with the disparate influences of her far-reaching eye, but is a profoundly rich metaphor for the deep struggle of living, of the balancing of life’s experiences, of listening and watching and caring for the world. This sublimely visual layering of color, shape and line is not only an act of art but — what resonates through in this process of layering the fabric of life by hand— is an act of deep caring. The title “Bearing Witness” is thus not misplaced on Carole Harris’ practice as a whole.”

Carole Harris, Things Ain’t What They Used to Be, Mixed Media Textile, 41 x 53, 2018

Carole Harris and Allie McGhee’s distinct abstract language has evolved for more than forty years. McGhee is a painter whose abstraction rises to the top based on day-in and day-out hard work where he pours his pigment and allows himself to release an intuition to create variations in composition, color and shape.  Carole Harris rises beyond the confines of fiber or quilted art, revising her decisions that are usually set in place by a medium that progresses linearly. Both of these artists have endured using a distinct abstract aesthetic that has created an homage to the harmony of an improvisational language of abstract expressionism.

In mid-July, during the dog days of summer when the art scene usually lays back and starts to plan and prepare for the fall season, the concept of Detroit Art Week provides some attention to Detroit artists and hopefully creates a tradition for years to come.

Museums, galleries, and sites participating in Detroit Art Week include Detroit Institute of Arts, David Klein Gallery, Playground Detroit, Heidelberg Project, Red Bull Arts Detroit, K. OSS Contemporary Art, Wasserman Projects, Public Pool, N’Namdi Contemporary Art Center, Library Street Collective, Holding House, What Pipeline, Charles H. Wright Museum, Simone DeSousa Gallery, Dell Pryor Gallery, Popps Emporium, and Reyes Projects.

Detroit Institute of Arts, Repetition, Rhythm, and Vocabruns through November 4, 2018

 

 

 

 

 

Gertrude Kasle Collection & See Through @ UMMA

Exercising the Eye

Robert Rausehnberg, Intermission(Ground Rules) Intaglio, 1996

In 1965, Gertrude Kasle established a gallery in Detroit’s Fischer Building with the intent of introducing the New York School of abstract expressionism to the Midwest.  The gallery lasted for 11 years, during which she acquired and exhibited works by luminaries such as Willem de Kooning, Robert Rauschenberg, and Grace Hartigan.  An alumnus of the University of Michigan, Kastle subsequently donated her muscular collection of American postwar art to the university’s art museum, and through July 22, Exercising the Eye celebrates Kasle’s visionary, connoisseurial eye.

Jasper Johns, Savarin, Color Lithograph on Paper, 1977

Exercising the Eye comfortably fills the UMMA’s large Taubman Gallery with a veritable Who’s Who of American Abstract Expressionism and Pop Art of the 60s and 70s, alongside a generous selection of works by artists perhaps underrepresented in the typical art-history survey.  An impressive spread of Rauschenberg’s works fills an entire wall, including diminutive aquatints and lithographs, a reminder that Rauschenberg produced far more than the “combines” for which he became famous. Nearly running the length of another wall is a suite of immersive,  large paintings by Grace Hartigan, a staple among America’s abstract expressionists and friend of Jackson Pollock, Helen Frankenthaler, and the de Koonings.  Hartigan worked both in abstract and figurative imagery, challenging Clement Greenberg’s vocal and uncompromising championing of pure abstraction, and here her immersive Tarzana applies frothy scribbles and uninhibited swaths of smack-you-in-the-face color to deliver the fleshy exuberance of a Renaissance Bacchanal translated into the vocabulary of postwar expressionism.

Other artists represented include Robert Motherwell, Adolph Gottlieb, Jasper Johns, and Philip Guston (the later represented with an original pen drawing advertising a show if his own paintings at the Gertrude Kasle Gallery).  Exercising the Eye perhaps suffers mildly  from a lack of thematic continuity beyond its works having been collected and exhibited by Gertrude Kasle, shrewdly perceptive as she may have been.  But its strength rests on the admirable willingness of Kasle to acquire and exhibit works by worthy artists that had yet to attain household-name status, and this exhibition is a markedly inclusive reflection of the climate of postwar American art, which often seems mischaracterized almost as a sort of boys-only club.

The Treachery of Images

Elliott Erwitt, Cracked Glass with Boy – Colorado, Gelatin Silver Print, 1955

Concurrent with Exercising the Eye, the UMMA is also presenting a show of pictures in its photography gallery which collectively aim to “expose the contingent nature of reality” through a series of visually beguiling photographs, each guaranteed to procure a double-take from the viewer.  The exhibition, See Through: Windows and Mirrors in Twentieth-Century Photography, brings together an eclectic selection of images that visually pun on the nature of the image and in which nothing is quite as it seems.  It’s as if the visual devilry of Rene Magritte has been transposed into photography, and, impressively, all of it prior to the advent of photoshop.

Walker Evans, Penny Picture Display, Savannah, Gelatin Silver Print, 1936

Walker Evans, generally known for his soul-wrenching portraits of down-and-out Depression-era families of the American South, is here represented with an uncharacteristically lighthearted set of illusory images that seem to portray special depth where there is none.  A wry photograph of a mirror in a hotel lobby, for example, seems to open up a portal in the picture plain that leads to another room; of course, there’s nothing in front of the camera but wall and glass.

Several images make playful use of distortion caused broken glass.  Carl Chiarenza’s  Bat Windowpresents a smashed window, its break forming an ominous angular black hole resembling the shape an abstract bat; the encroaching field of black recalls the schematic of a Robert Motherwell painting.  And Algimantas Kezys’ fragmentated reflection of two silhouetted male forms staring into a shattered mirror seems cubist, like a much paired down version of Picasso’s Les Demoiselles d’Avignon.

Such a theme as this naturally opens the door to moments of subtle humor.  Robert Doisneau’s wonderfully mischievous  La Dame Indignée (“the indignant woman”) captures the moment a Parisian woman passes by a storefront window displaying a lascivious and revealing picture of a nude woman and gives the work a fiercely disapproving scowl.  The picture was part of a series for which Doisneau stealthily photographed the varying reactions of passers-by, with this indignant woman on one end of the spectrum, and a visibly enamored man craning in for a closer look, on the other.

See Through is a small exhibition, fitting in its entirety on two perpendicular walls on the UMMA’s third-floor atrium.  Nevertheless, While the primary draw of the show is visual, there’s a cultural resonance to these photographs which whimsically distort reality.  After all, the alarming spread of pseudo-news on social media has demonstrated that a provocative image divorced from context can easily pass itself off as truth, and this exhibition serves as a gentle reminder not to instinctively take images at face value.

University of Michigan Art Museum

Exercising the Eye:The Gertrude Tase Collection, through July 22, 2018

See Through: Windows and Mirrors in Twentieth-Century Photography, through September 23, 2018

 

 

 

 

Punk Rock Graphics 1976 – 1986 @ Cranbrook  Art Museum

Installation Image, Cranbrook Art Museum, Punk Rock Graphics 1976 – 1986, 2018

Punk Rock is a music genre that developed in the mid-1970s in the United Kingdom, the United States and Australia. Rooted in 1960s garage rock, punk rock bands rejected perceived excesses of mainstream 1970s rock by typically producing short or fast-paced songs, with hard-edged melodies and singing styles, stripped-down instrumentation, and often political, anti-establishment lyrics. Punk Rock embraces a “do it yourself” ethic; many bands self-produce recordings and distributes them through independent record labels and other informal channels.  Accompanying the music is byproduct: a distinct style of graphic art.

Installation Image, Cranbrook Art Museum, Punk Rock Graphics 1976 – 1986, 2018

Although I was there during this time, and in the early throws of raising a family, I was not drawn to the anti-establishment, but rather seduce by the  music of Motown, Detroit Jazz, and the 60’s music of the Beatles, Rolling Stones, Sting and Bob Dylan. Punk Rock was a distraction for this writer and as an observer, I missed the graphic art side of the cultural phenomenon. If that resonates, no matter what your age, this exhibition opens up a trove of information and design that can take you on a journey and easily introduce you to a culture defined, in part, by its graphic design.

The Cranbrook Art Museum opened a large and sprawling exhibition of Punk Rock Art Graphics (600 pieces), Too Fast to Live, Too Young to Die: Punk Graphics, 1976 -1986, 0n June 15, 2018.

The exhibition features several hundred posters, flyers, fanzines, handbills, record sleeves, badges, clothing and other graphic materials from the New York collector Andrew Krivine.  In addition Robert St. Mary, a local author and music historian, helped to curate the Detroit portions of the exhibition at the request of Cranbrook Art Museum. St. Mary was asked to contribute his knowledge of the Detroit punk scene as an extension of a project he is working on as a recipient of the 2017 Knight Foundation Arts Award. In his 2015 book, “The Orbit Anthology,” St. Mary focused mainly on the punk scene at Bookies, known as the original punk nightclub in Detroit. Most people know about the famous London, New York City and Los Angeles bands, but St. Mary points out that the origins of punk are really right here in Detroit.

He says, “When we talk about punk, the primordial ooze of it is here,  with The Stooges and the MC-5”

Jamie Reid, Sex Pistols, God Save the Queen, Poster, Collection of Andrew Krivine, 1977

“That’s the arc of the show — from a black-and-white gritty feel to this explosion of color and pattern,” says Cranbrook Art Museum director Andrew Blauvelt. “The graphic language of punk was much broader and really paralleled what was happening — and was even ahead of — contemporary art in the 1970s and 1980s.”

Blauvelt says patrons will be quick to recognize the work of a featured artist who, in many ways, defined the visual representation of the punk rock movement. “What most people think of when they think of punk is the work of Jamie Reid,” says Blauvelt. “They may not know him by name but they would certainly know him by his work with the Sex Pistols.”

Installation, Punk Rock Memoirs 2018

 

While Too Fast to Live isn’t an exhibit based on musical history, it does present a chronological timeline tracing the evolution of the punk and new wave music genres overseas and in the U.S. via New York City. During this era, New York served as ground zero for a critical mass of counterculture musicians and artists who were forging an aesthetic that continues to be an influential force in contemporary design.

Robert L. Heimall -Design, Robert Mapplethorpe – Photographer, Patti Smith, Horses, Poster, 1975

 

In her debut album, Horses, 1975, Patti Smith became a fixture in the New York punk rock scene.  Critics have viewed the work as one of the most influential albums in the history of the punk rock movement.  Her three-cord rock was a simplistic cord structure, with rudimentary guitar work, and lyrics channeled by influences from William Blake to Arthur Rimbaud. Her performances often provided room for musical improvisation, and drew at times on Reggae, and jazz riffs. Horses mixed philosophical elements with traditional rock elements. Her early biography bleeds over into the life of Robert Mapplethorpe, who took the black and white image for the cover, as the two live together for a short time in lower Manhattan.

Smith says, “Horses was a conscious attempt to make a record that would make a certain type of person not feel alone. People who were like me, different … I wasn’t targeting the whole world. I wasn’t trying to make a hit record.”

The B-52’s, American rock group, 1979

Go-Go”s, American all women rock group, Poster, 1981

The design of punk graphics ran concurrent to postmodern art practices of the times by raiding popular culture, scavenging history, subverting messages, and transgressing aesthetic rules. Punk fed the alternative music scene that would emerge in the late 1990’s as well as today’s do-it-yourself cultures that blur and erase the lines between professionals and amateurs.  Punk’s trangressive spirit emboldened people from all walks of life to reimage themselves as creative agents and active participants in a culture driven by music, art, and design.

The legacy of punk has permeated modern culture and society, and its visual vocabulary infuses much contemporary art, while the punk spirit resonates in particular with the anti-elitist, DIY ethos of today’s young, blogging artists and musicians.  Too Fast to Live…, recalls the anarchic spirit of authenticity and amateurism, the volatile and ambiguous celebration of negativity, and the creativity that was punk.

Too Fast to Live, Too Young to Die: Punk Graphics, 1976-1986” and the related Shepard Fairey. Salad Days,1989-1999 run June 16-October 7, 2018.

Cranbrook Art Museum