Sharon Que: Vaporous Quill @ Simone DeSousa Gallery

Sharon Que, “Vaporous Quill,” 2017, Steel, aluminum, paint   –  All photos by PD Rearick, Courtesy of Simone DeSousa Gallery

 

The title of Sharon Que’s current exhibition at the Simone DeSousa Gallery is  taken from one of her sculptures, “Vaporous Quill” which is also a phrase from a poem, “Not a Word in the Sky,” by British pop singer Shiela Chandra. Both Chandra’s poem and Que’s sculpture have an elemental simplicity that beguilingly explores the universe. The poem, in a voice of miraculous clarity, negotiates the sky, searching for some perhaps existential explanation, a language or word, in the vaporous horizon. The sculpture is composed of two amber-yellow, quadrilateral metal panels that, juxtaposed, mirror each other. One panel is subtly inscribed across the top with brass rivets from which fall, like rain, faint blue streaks. Attached to the adjacent panel is a thin strip of aluminum, finagled and caressed into the shape of a wisp of smoke. This is how it goes with Que: enigmatic objects elegantly finessed of hand wrought materials– wood, steel, bronze, glass—arranged in a conscious geometric scheme.

Another sculpture, “Listening Device” is composed of a 3-dimensional, geometrical shaped wire figure embraced by a small painted root and twig system which is “connected” to a small, golden funnel shape. Its title suggests that it is a technological instrument or machine. Both pieces take time to negotiate as does each of the seventeen, small sculptural works in the exhibition.

In the brief gallery guide for the exhibition Que has written: “There is a scaffolding system that exists for each of my sculpture exhibitions made of the interactions with people, nature, music and art that I have come across accidentally or made great efforts to experience.”

This is not, it seems, a simple prosaic statement but one of specific structural purpose. Each of these elements is part of her system of perception and selection of materials and each of them figures into the creation of the final object. There is a strange science at work here. In the same statement, she says “My imagery can take the form of data visualization algorithms.” This isn’t the usual account that an artist might make about how their art looks and works. This is language that comes out of the complex world of information engineering. Que is setting up a platform, the ontology, for her sculptural works.

Sharon Que “Listening Device,” 2017, Steel, wood, paint

With this in mind, “Listening Device” becomes a complex metaphor about the process of hearing and consciousness. The poet William Carlos Williams said “The poem is a small machine made of words.” Que’s sculpture is similarly a machine. From the complexity of roots and branches interconnecting to the complex crystal structure of nature (illustrated by the wire figure) to the funnel shape of satellites, “Listening Device” is a model or prototype of a hearing machine.

Que regularly references her family’s engineering background and she, herself, was a wood model maker in the auto industry before translating that profession into a violin restoration career. Thus, her art exhibits some considerable skill in handling a diversity of materials—including metal casting and fabrication, wood working, drafting skills, letter press printing–and the inventive forms that her sculptures take suggest a larger, macroscopic, engagement with the world.

Throughout “Vaporous Quill” there are images and illustrations of the elusive phenomena of magnetism. In each of the three “Quiet Revolution” sculptures, for example, there is a print of a woodcut that Que tooled, illustrating the polar forces in an electromagnetic field. “Quiet Revolution 2” appears to diagram the dynamics of a group of orbiting bodies, suggesting in their overlapping trajectories the possible intimacies of their interrelationships. Modestly constructed on a piece of varnished plywood it is beguiling and provocative. Que wrote in her introduction to the Vaporous Quill: “This exhibition is a three-dimensional journal.” The sculptures then function as journals do, notes and speculations on her perceptions of everyday life. It’s a lovely idea.

Sharon Que, “Quiet Revolution 2,” 2017, Wood, paint

With this science in mind then, “Capture,” a small, almost jewelry sized sculpture, composed of cast bronze balls and steel chain, seems to illustrate one of the prime phenomenon of particle physics, the incomprehensible “electron capture.” If “Capture” is considered metaphorically, in the realm of Que’s world, it may lead to speculation on everything from love to nuclear holocaust. I think there is a bit of the comic in Que.

Que is an artist of ideas, as well as beautiful objects that explode into a long trail of speculations and readings of what they are “about.” Her art is much less abstract than one might at first think. One imagines her advancing into the world, exploring for more and more connections, and bringing back from her sojourns pieces of the world to connect herself to the world and its infinite magnetic connection.

Sharon Que,  “Capture,” 2017, cast bronze, steel

 

 

Simone DeSousa Gallery       Sharon Que: Vaporous Quill  through October 8, 2017

 

 

 

 

 

To the End of the Earth @ Detroit Artists Market

“To the End of the Earth,” the new group exhibition at Detroit Artists Market, is grandly ambitious in its mission. As DAM’s press release states, it seeks to “… Bring together artists who seek to improve our bleak ecological reality through artwork that opposes political policy, presents objective data analysis, and conveys compelling emotional narratives.” This is an important show- it marks the importance of the humanities in general, and visual art in particular, in unpacking the increasingly urgent ecological crisis that is looming more heavily, day by day, on our planet and our lives.

Installation Image, Courtesy of Detroit Artist Market 2017 All images Courtesy of Detroit Artist Market

Curator Adrian Hatfield (himself no slouch as a painter of spiritual/earthly slippage- do check out his work) has assembled a group of artists who work predominantly in loving craft and visual narrative- there’s a refreshing lack of conceptual chillness to this show. The work largely avoids didactic environmentalist rhetoric, instead presenting us with feverish beauty and unsettling juxtapositions that ground examination of terrifying imbalance in the bones.

Dominique de Gery, Zug Winter, Oil on Canvas, 2017

Two standouts are Dominique deGery’s Zug Winter and Millie Tibbs’ Mountains + Valleys- Yosemite 4. deGery’s painting gifts uncommonly grand scale and highly developed technique to a familiar Detroit River view- her bisected horizon/underwater landscapes always make me think of Rothkos. She somehow manages to balance closely observed realism with visionary abstraction- a Hudson River School student granted multi-planar sight. deGery’s landscapes convey more about our delicate, wayward relationship with the land and water we live amongst than most artist statements or grim statistics could.

Millee Tibbs, Three Mountains & Valleys, Yosemite 4, Archival Print, 2013

It’s difficult to do interesting things with landscape photography these days. Millee Tibbs’ work is a notable exception. Her practice quietly probes unprecedented pockets in photographic imagery, spanning the figure, national monuments and many subtleties in between, unearthing the unsettlingly familiar and ungroundingly uncanny in every subject she engages. Mountains + Valleys- Yosemite 4 presents an iconic view of Half Dome, a famous, imposing feature of the Yosemite National Park skyline. This monument is one of the gods of nature photography, steadily indexed since the dawn of the medium. Tibbs’ layered meditation on the sublime, yet somewhat clichéd monument stakes its territory by manipulating the print itself, folding it into steep 45 degree angles reminiscent of paper airplanes. The delicate stratification of crease marks that remain once the print is again pressed flat enclose the phallic Half Dome in a yonic, halo-like embrace. On closer examination the jagged creases, like the mountain itself, turn out to be an illusion of captured light- Tibbs’ final image is a print of the folded print. This uncanny doubling casts everything about the image into doubt, except it’s frankly sexual examination of our relationship with iconic landscapes.

Clinton Snider, Senic Overlook, Mixed Media, 2016

More slow-burning revelation arrives through Clinton Snyder’s dirty/dainty mixed media sculptures, depicting meticulous miniature landscapes built atop found detritus of urban living. Scenic Overlook evokes the deceptive green crust floating uneasily atop a landfill, which is perfectly iconized by a worn-out old shoe.

While the truth of climate change and environmental degradation seems indisputable, one truth of our current relationship with these phenomena is that the message is not getting through. Statistics, studies, and choirs of frantic talking heads make facts readily available, along with steps that can be taken to slow the trajectory of climate change. The presence of all these facts in popular culture seems, on the ground, to change very little about the way we conduct our lives- at least in the Western First World. There is a need for new dialogs to open, in languages parallel to the logistical and statistic. Artists are uniquely suited to engage with this oncoming massive shift in our ability to bind and distill different forms of knowledge. For a scorchingly beautiful argument on this subject, see The Dark Mountain Project Manifesto.   “To the Ends of the Earth” presents some of the best artists working in visual narrative in Detroit right now, and lives up to its vision in providing a (much needed) new conversation on climate change.

“To the End of the Earth” is on display at Detroit Artists Market from September 8 through October 14.

 

Group Exhibition @ Oakland University Art Gallery

An exhibition, Ethics of Depiction: Landscape, Still Life, Human opens at Oakland University Art Gallery

Oakland University Art Gallery, Ethics of Depiction: Landscape, Still Life, Human, Installation Image Courtesy of OUAG, 2017

Rather than a Detroit-based solo artist or group show, Dick Goody, Chairman of the Department of Art and Art History, and Director Oakland University Art Gallery has curated an exhibition that draws on artists from various parts of world that provide an experience in imagery that questions fantasy, deception and truth. Fueled by contemporary image making, the exhibition is a collection of twenty-one artists ranging in gender, location, age, and location, providing artwork that includes photography, video, painting, and drawing. It could not be more diverse.

Goody says in a statement, “These works represent something just short of an inundation of content, and the presentation— “salon style” — affirms the idea that kaleidoscopic subject matter is enriching and arouses curiosity about the way in which contemporary artists use data and themes in their work to create a reflection of their lifespan on earth. The ethos of the exhibition sees parallels with the cabinets of curiosities from the past. Like the inquiring viewers of old encountering astonishing collections of objects, we today also experience a primary emotional connection to this type of work because its meaning is self-evident. Concurrently, the viewer’s entry point into these pictures is unclouded by unfamiliarity with Contemporary art. Anyone can find their way into these accessible depictions and explore the familiar, the strange, the formalistic and the conceptual stance of each image. But even using the phrase “conceptual stance” creates an unnecessary barrier between the viewer and the images. Perhaps it is much better to say “poetic stance.”

Richard Mosse, The Man Who Sold the World, 2015, digital c-print, 28 x 35″ Courtesy of the artist and Jack Shainman Gallery, New York

This image, The Man Who Sold the World, by Richard Mosse, an artist from Ireland, captured on infrared film, is shot in the Congo and feels like an ethnographic recording of workers, while moving away from a truthful depiction of the landscape. The reality of the image raises more questions than it answers.

Mosse says in a statement, “The subject of my work in Congo is the conflict’s intangibility, the irruption of the real beneath the generic conventions — it is a problem of representation. The word ‘infra’ means below, what is beneath. A dialogue about form and representation is one of the work’s objectives so I don’t think it’s a bad thing if people get hung up on the way Congo has been depicted, rather than what is being depicted.”

Jasper de Beijer, The Brazilian Suitcase (Part 2) #1, 2017, c-print 44.5 x 67 inches Courtesy of the artist and Asya Geisberg Gallery, New York

When I first experienced this image, I was taken back by my own thoughts of a place where a shrine was erected to the remnants of a Brazilian airplane. Again, this feels like an ethnographic image capturing a cultural act by what might be described as third world tribal individuals living in the jungle of Brazil. The images of Jasper de Beijer, an artist from the Netherlands, seem to want to break the perception of what we see as real, juxtaposed and complimented by our own experience and memory.

He says in a statement, “We experience reality through interpretation. For me, the most interesting feature of this process is that the interpretation of reality gains a new actuality, forming a corpus of imagery that becomes more and more disconnected from what actually took place. This is where images start to lead their own life — becoming more or less autonomous.”

Becky Suss, Hallway, 2017, oil on canvas, 84 x 180 inches Courtesy of The West Collection

The very large oil on canvas painting, Hallway, 84 x 180, by the artist Becky Suss from Philadelphia, dominates the entrance to the exhibition. This flat, neutral depiction of an empty house captures the mundane. If it were 6 x 12” on board it might pass as a postcard. The scale plays a major role in requiring the viewer to stop and study the contents, calling on our own memories and perceptions. In this work and for that matter all artwork, we bring our own experience to the moment and that is what can make all the difference. This idea works in the same fashion for all artwork.

Suss says in her statement, “In terms of the painting world, I do feel like sometimes there’s a dismissal of subject matter: “What is it? It’s just a room. It’s just a domestic interior. What does it mean?” There’s this idea that somehow it’s not terribly meaningful. But so much of our time is spent in these domestic spaces; they are where the scenes of our lives play out. Again, it’s something that’s undervalued. It’s taken for granted in some ways, like it’s an undeserving thing for a big painting to be made about.”

David S. Allee, Fireworks, 2016, dye sublimation metal print, 48 x 72 inches Courtesy of the artist and Morgan Lehman Gallery, New York

The photographic image, Fireworks, by David S. Allee, made me stop and study the large work, 48 x 72”, a dye sublimation on metal. I was first drawn to the image by the even lighting in the foreground and the sky, which led me to the question of exposure. Upon close examination, the viewer can observe movement in the detail of people, disclosing a long exposure time for the image. From the title one can assume we are viewing a group of people viewing fireworks, but the light source is intriguing and a mystery.

He says in a statement, “Structure, environments, spaces interest me for the stories they tell and layers of meanings they can describe. Photos of these forms usually require people to look closely, study, interpret and infer. If a viewer is drawn into an image of a built environment, they’re forced to use their imagination to understand it, make sense of it and in effect complete the image. The more an image has this relationship with people who view it the more successful I see my artistic process. I also have great interests in architecture and planning and a desire to build and create. Photographing these forms and framing them probably also helps to fulfill some of these desires.” After seeing the image, one can reimagine the landscape romantically, and change your perception of an experience. David S. Allee earned his MFA in Photography from the School of Visual Arts in New York City.

For this writer, this exhibition clarifies the role of a university gallery, especially with respect to their freedom to explore new ideas without the concerns of commerce. Goody at OAUG, focuses in his curatorial work, on educating his university students and raises the bar on exploration, dialogue, and meaning, not just for the students, but also for the Detroit Metro area at large.

Oakland University Art Gallery

Ethics of Depiction: Landscape, Still Life, Human runs through November 19, 2017

 

Fall Exhibitions 2017 @ BBAC

The Birmingham Bloomfield Art Center kicked off its 2017 fall season with exhibitions in all of its galleries, highlighting painting, sculpture, photography and ceramic work.

Birmingham Bloomfield Art Center, exterior, 2017

For a non-profit that was established in 1957, the BBAC continues to connect people of all ages with art from every part of the Detroit Metro Area.  These new exhibitions in all the galleries are good examples of how they provide venues for a large variety of artists.

The current exhibition in the large central gallery is an exhibition titled Simultaneous Contrast and illustrates how differently two artists approach figure painting. It is interesting that both artists came from the L’Anse Creuse High School program under the instruction of Ken Hoover during the early 1970’s and then went on to pursue their different paths in visual art. 

Christine A. Ritchie, Primary Passage VI, Oil on Canvas, 36 x 60″

In her painting Primary Passage VI, Ritche demonstrates her interest in process and the intrinsic qualities in oil paint where she delivers a loose abstract expressionistic interpretation of the figure(s). The surface, the brush-stroke action, and the moment, characterizes the way she renders the human form. Supported by strong gestural drawing the painting successfully communicates movement.  She says in her statement, “My work with the figure has been ongoing and is related to my interest in the qualities of figurative movement and the idea that there is a “shared” sense of the human figure moving through space that creates a “felt” or identifiable rhythm that belongs to and is uniquely recognized.” 

For this writer, the artist came along at a time when influences from the 1960’s, artists like Arshile Gorky and Willem de Kooning, were taking the art world by storm, supported by New York critics, Clement Greenburg and Harold Rosenberg.  But the language of painting the human figure as been with us since the art work done in the prehistoric caves of Dordogne, France and will be with us for some time to come. Christine A. Richie holds a MFA in Painting from Pratt Institute in Brooklyn, NY where she lived and worked for 23 years before returning to a studio in Detroit.

Kip Kowalski, IGGNOIRANTS, Oil on Canvas, 30 x 38″

The contrast to Richie’s work is the Picassoesque figurative paintings by Kip Kowalski is dramatic, hence the title of the show, Simultaneous Contrast.  These satirical figure paintings incorporate a kind of surrealistic still life component. In the oil on canvas, IGGNOIRANTS, Kowalski dishes up a surreal one-eared female figure, a pear and a dead bird on a string with abstract elements in the wand and background.  He says in his statement, “My work is an audacious and blasphemous satire of human ignorance and apathy that confronts the absurdities I find in contemporary religious beliefs.  I tackle the biblical lore that is celebrated as fact over the findings of empirical science, such as the denial that evolution is real. My work is also a reaction to the pervasive attitude in many secular and non-secular societies, including our own, that women are the lesser gender.”  

Kowalski’s paintings are grotesque at times as he admits, in that it may cause uneasiness to the viewer.  Are these visual distortions metaphors for the imperfections in our anatomy?  In the end, most people have a visceral reaction to viewing a work of art as opposed to the intellect, directing them to say either I like that, or not for me.  I find myself going back to Picasso in this work, whose painting from the mid-1930’s, especially the women seated series, remind me that he was the most prodigally gifted artist of the twentieth century. So when viewing Kowalski’s work, I make an effort to see his measure of detachment, perhaps even skepticism that results in a form of intrigue.  Kip Kowalski graduated from The Center for Creative Studies with a BFA and maintains a studio in the Detroit area.

Russ Orlando, Modifiers, B&W Photographic image

In the Robinson Gallery, the work of Russ Orlando combines sculptures, collages, totems and a row of photographic self-portraits that portrays this artist as having a variety of interest in media and execution. The row of black and white photographs are self-portraits that stand together as one piece and seems to this writer to be theatrical in nature and not part of a body of photographical work. 

He says in his statement, “When I start a work, I tend to gather materials that I find may be useful to me. When combining the materials, I try not to make much sense out of my choices for fear of being too rational.  In the end, the work should serve as only a stopping point, prompting many questions but leaving them unanswered.”  

Russ Orlando, Untitled, Slip Cast Porcelain, Gold Leaf, and metal stand.

The Untitled work of these three birds, slip cast porcelain, with the interior of gold leaf is interesting, assuming they are not commercially made and altered, which would make them found objects. The base height seems right, but I would prefer more attention is made to the base’s top material: not plywood, but stone, or glass. Perhaps these works are like the artist says, stopping points, prompting many questions, but leaving them unanswered.  Born in Detroit in 1964, Russ Orlando received his Bachelor of Fine Arts from Wayne State University, Detroit and his Master of Fine Arts from Cranbrook Academy of Art, Bloomfield Hills, MI.  As part of his Kresge recipient statement he says his work is informed by the lure of the sell, shaped from his many years as an advertising agency art director. His sculptures and performances-which he calls experiences-often employ his body as a flash point for social criticism and a viewer’s self-examination.

Rosemarie Hughes, House of Homage, Encaustic, Photo Transfer on Wood Panel

The BBAC has a Ramp Gallery that currently has the work of Rosemarie Hughes.  The smaller and more intimate work is base on a theme, The Home. In her statement she says, “My art is based on the idea of a home. I strive to create work that draws the viewer to take a closer look.”   Originally from the Detroit area, Rosemarie has lived and studied in Austin, San Francisco and London. She received a BFA and MA in photography but her passion for working with textures and a variety of materials ultimately led to her identifying as a mixed media artist.  She currently resides in the Detroit area where she divides her time between her studio and working as a licensed massage therapist.

The Birmingham Bloomfield Art Center is a model for communities through out the region to visit and learn how a non-profit can enrich their citizenry by offering classes, workshops, and exhibitions.

Birmingham Bloomfield Art Center 

Detroit Institute of Arts & Charles Wright Museum Collaborate on 1967 Rebellion Exhibitions

 

From Left to Right – Patrina Chatman, Curator of collections and exhibitions, Charles Wright Museum of African American History, Valerie J. Mercer, Curator of African American art and head of the General Motors Center for African American Art, Detroit Institute of Arts, Kathy Locker, Program director/Detroit, John S. and James L. Knight Foundation, Juanita Moore, President and CEO, Charles Wright Museum of African American History and Salvador Salort-Pons, Director Detroit Institute of Arts.

Art of the Rebellion and Say It Loud are coordinating exhibitions to commemorate 50 years since July 23, 1967, when African Americans took to the streets of Detroit to express their anger and frustration with the injustice of law enforcement. To many people, and supported by the then media establishment, the events on 12 Street and Clairmount were conventionally referred to as the Detroit Riots, both in Detroit, Southeastern Michigan and around the country. Over the course of five days, more than 2000 buildings were destroyed, 7,200 people were arrested, 43 people killed and over 1,100 injured.

Jim Hubbard, Woman Sitting on Ledge, 13 x 19 B&W 35mm 1967

At the DIA, African American Art Curator Valerie Mercer explains that a number of the 34 works on display emerged from black art collectives that in some cases aimed to instruct a community whose self-identity was in rapid flux. “Harlem’s Weusi collective felt we African-Americans needed to learn more about African culture,” Mercer said, “which is hard for us, since it’s typically not taught in schools.”

Salvador Salort-Pons, DIA director said, “The commemoration of the 1967 Detroit rebellion provides an opportunity to call attention to the talented and often overlooked artists who were reacting to the struggle for social, political and racial justice during the 1960s and 70s. The DIA’s collaboration with the Wright Museum lays a foundation from which we are building a strategic and lasting working relationship that will help bring our community closer together.”

Wadsworth Jarrell, Three Queens, Acrylic on Canvas, 1971

At the Detroit Institute of Arts, Art of Rebellion features 34 paintings, sculptures and photographs mostly by African American artists working both collectively and independently in the 1960s and 70s. Artists in the collectives: Spiral, Kamoinge Workshop, Harlem’s Weusi, AfriCobra, and Black Arts Movement, created art for African American audiences that asserted black identity and racial justice with the Detroit rebellion of 1967 as background. The exhibition also includes works by artists who were not part of a collective and artists working in later decades who were inspired by art from the Civil Rights Movement.

Wadsworth Jarrell, Revolutionary, Acrylic on Canvas 1972

The work of Wadsworth Jarrell is prominent in the DIA exhibition in that it captures a color depiction of African American figures using a kind of alphabet soup to communicate a variety of literary messages. Wadsworth Jarrell is an African-American painter, sculptor, and printmaker who was born in Georgia then moved to Chicago, Illinois, where he attended the Art Institute of Chicago. He is a founding member of AfriCOBRA, a collective of African American artists formed in Chicago in 1968 as a response to the Civil Rights Movement. Its members inspired black pride by exploring and defining a black visual aesthetic that would reflect the style, colors, cool attitude and rhythm associated with their culture. AfriCOBRA artists focused on the social and political issues that affected their communities and were committed to making art that was understandable, relevant and accessible.

Allie McGee, Apartheid, Mixed Media on Masonite, 1984

Detroit artist Allie McGee, whose work is represented by the N’Namdi Center for Contemporary Art, is featured with a large abstraction, Apartheid. The work highlights his use of angular shapes and splatters of paint to evoke tension. McGee often used sticks in place of brushes to obtain the effect he wanted. The title refers to the oppressive political system that existed in South Africa. The Civil Rights and Black Power movements inspired many African American artists to address the fight for civil rights faced right here in Detroit.

Norman Lewis, Untitled (Alabama), Oil on Canvas 1967

The outline of a hooded Klansman near the center of this painting converges with sharp angles suggests tension. The title Alabama was code for the complicity of that state’s government in the oppression of African Americans throughout the community. Strong composition and the black and white motif further supports the overall symbol in this oil-on-canvas work.

Elizabeth Catlett, Homage to Black Women Poets, Mahogany, 1984

Elizabeth Catlett’s wooden sculpture Homage to Black Woman Poets is carved from one piece of Mahogany and pays tribute to black women poets, such as Gwendolyn Brooks, Jikki Giovanni, Sonia Sanchez and Maya Angelou. Catlett is widely recognized as a contemporary sculptor known for her focus on women subjects.

Titus Kaphar, For Tryvon, Amadou, Sean, and Mike, Calk on Asphalt, 2014

The Chalk on Asphalt drawing by Titus Kaphar in 2014 brings the recent events across the country into the narrative that exists today. The images depict three black boys, perhaps those who were lost to injustice and informs the audience that the events surrounding a young black man like Trayvon Martin live on inside each and every one of our consciences.

The Charles Wright Museum partnered with the Detroit Institute of Arts to create parallel exhibitions — the DIA’s Art of Rebellion: Black Art of the Civil Rights Movement opened on the same day as Say It Loud. Both are part of a community-wide reflection of the 1967 Detroit Rebellion. More than 100 local institutions will participate in this commemoration, led by the Detroit Historical Museum. The Charles Wright Museum began its remembrance of this complicated and painful historical experience with the unveiling of Detroit artist Charles McGee’s landmark outdoor sculpture United We Stand at the Museum in July 2016. The Detroit Art Review covered that event, and I spoke with McGee, a fellow artist with whomI exhibited more than once. He said, “It’s about togetherness…living together in peace.”

“Artists have a way of bringing moral clarity and promoting empathy,” said Juanita Moore, president and CEO of The Wright Museum. “They can often articulate the emotional truth of a situation in a way that breaks through our mental barriers and opens us to new perspectives in a way that other forms of communication cannot. This new exhibit will both show how some of the most significant African American visual artists have interpreted and resisted social inequities over time, and broaden the historical narrative and dialogue around the 1967 Rebellion.”

Gordon Parks, Police State, B&W, 35mm, 13 x 19″ 1997

Born in Fort Scott Kansas, at the age of 25, Gordon Parks was struck by photographs of migrant workers in a magazine. He bought his first camera for $7.50 at a Seattle pawnshop and taught himself how to take photos. He started in the fashion industry, but Parks went on to become the first African-American photographer for Life and Vogue magazines. Parks once said, “People in millenniums ahead will know what we were like in the 1930s and the important major things that shaped our history at that time. This is as important for historic reasons as any other.” In this photo Police State, the image is more about capturing a moment that delivers a blunt and literal statement to his audience.

Roko, The King of Montgomery, Oil on Canvas, 28 x 38″ 1988

This mixed media painting by the artist Roko comes from a mug shot of Martin Luther King, one of many, taken by police departments during the Civil Rights period. Known nationally for his dramatic portraits, Roko relies on deep colors and black line to capture the downtrodden state of his subjects. As part of this exhibition, it is well known that Dr. Martin Luther King led Marches in Detroit, such as the Walk to Freedom March down Woodward Ave, in 1963, the precursor to his “I Have a Dream” speech at the Washington Monument just two weeks later. It drew crowds of an estimated 125,000 or more making it “the largest civil rights demonstration in the nation’s history” at that time.

Senghor Reid, Broadcast News, Mixed Media 1971

Detroiter Senghor Reid develops paintings that explore the connections between culture, art and social sciences as in his work “Broadcast News,” with its black-stenciled letters on bright yellow background or “The ’67 Riot Did Not Take Place.” Since he was born in 1976, maybe for him, these events did not take place. He earned a Bachelor of Fine Arts from the University of Michigan, Ann Arbor, and a Master in Art Education from Wayne State University. A recipient of the prestigious ArtServe Michigan Governor’s Award for an Emerging Artist in 2001, Reed was a Kresge Artist Fellow Recipient in 2009.

Postscript

On Monday morning, July 24, 1967, I remember being notified to leave work and go home until further notice. Some people had heard about an overnight disturbance in Detroit, but it wasn’t until I got home that I saw the news stories on our black and white TV. ABC news anchor Bill Bonds was reporting live on a civil disturbance near Clairmount and 12th Street that had broken out when police raided an unlicensed after-hours bar on the city’s west side. When I was allowed to return to work the following Friday I was surrounded by jokes from  fellow white suburbanites.  I remember being ashamed and disgusted by these pathetic displays. I had no true sense of what was going on then, but now I realized that although there was blatant racism on both sides of my extended families, my parents had met as professional dancers and worked with artists of all persuasions. These people were made up of all races and sexual orientation. Many lived in my home from time to time during my formative years of high school.

At the time, I didn’t understand the true depth of what happened that summer, but it came to form the foundation of my values as a grown man: All people were created equal, and to quote Martin Luther King, “Injustice anywhere is a threat to justice everywhere.”

Art of Rebellion has been generously supported by the Community Foundation for Southeast Michigan and the Whitney Fund.

Say It Loud is the recipient of a prestigious Knight Arts Challenge Detroit grant from the John S. and James L. Knight Foundation.

Detroit Institute of Arts

Charles Wright Museum