Diverse and Highly Wide-Ranging Work @ Wasserman Projects

 

Installation Image, Wasserman Projects, 2019, Image courtesy of DAR

The Wasserman Projects gallery opened a multi-faceted set of exhibitions on January 25, 2019 that is eclectically diverse. The work is divided into a solo show by Esther Shalev-Gerz, an exhibition that premiered at the Swedish History Museum, a group show, Portray, that includes fourteen artists from a variety of geographical locations that draws on previous artists represented by the gallery and includes new artists from Detroit, New York City and beyond.  In addition, there is a retrospective by the American-Israeli artist Felice Pazner Malkin, introduced up front and continues in the rear gallery with representational works of art.  The exhibition also leverages the space at Wasserman which has more square footage than any major gallery in the Detroit Metro area, providing the viewer with a feeling that elevates the work to a near museum-like ambiance.

“Part of Wasserman Projects’ mission is to provide a platform for artists to show their work and to connect with the creative community in Detroit. For our upcoming season, we have the opportunity to present several artists with whom we’ve previously collaborated, like Esther Shalev-Gerz, Ken Aptekar, and Matthew Hansel, among others, creating a continuity of experience and support,” said Alison Wong, Director of Wasserman Projects. “And at the same time, we are excited to introduce new artists to our community to further enrich and explore timely and topical dialogues within contemporary practice”

Esther Shalev-Gerz, An Answer to Jorge Luis Borges’ Text – The Scandinavian Destingy, 40 Minute Video, 2016, Image Courtesy of DAR

The Esther Shalev-Gerz selections from The Gold Room, are unique in that the artist invited five  individuals who recently found refuge in Sweden to speak to the personal importance of an object they brought with them when they migrated. The exhibition requires the viewer to slow down and understand the process where a golden square floats over the center of the screen.  The work is a combination of photo portraits and a video installation, and which depict some of the featured participants and objects with their faces obscured by a golden panel.

Installation Image, Susan Silas, Felice Pazner Malkin, Esther Shalev-Gerz, Wasserman Projects, 2019, image courtesy of DAR

As you move into the large open space and start to take in the Portray exhibition, it is hard not to notice the marble sculpture Aging Venus, where  Susan Silas photographed herself over the course of a decade and created a 3D scan of her changing body, which served as the basis for the sculpture.  She says, “As a child, my bedroom was covered with reproductions of Botticelli’s Birth of Venus, torn from an art book in my parents’ library. It seems to me that at an early age, two of the core values that would inform me throughout my life and career had already established themselves—a love of beauty and love for the female heroine at the center of meaning. Later there were ample quotations from writings and rock and roll lyrics added to the walls. For me, image-making and writing remain intertwined.”

I have not experienced such a pristine marble full-figured self-portrait juxtaposed to a large screen video where the artist sings 1960 TV theme songs into a mirror, creating a double image of herself.  These theme songs include “Happy Trails” from the Roy Rogers Show, and other themes from The Mickey Mouse Club, Star Trek, Superman, Yogi Bear, and Bat Masterson, to name a few.  It does occur to me how that might be perceived based on one’s childhood experience and how that carries an emotional nostalgia for those of a certain age. As in our experience with all art, we bring our own individual experience to the moment.

Susan Silas titles the sculpture A Study for Aging Venus, and in reading her history of this work, one finds out just how much technology was used in its creation and her plans for a larger sculpture.

She says, “The body scan for Aging Venus has generated a set of 2D photographic studies and a set of photographic portraits, created by shooting stills within the 3D space. The object file was used to create a 3D model that stands 11 inches tall which will become an edition. The large-scale sculpture will be cut by a high performance robotized 3D scanner that cuts stone with laser technology. The stone will be Carrara marble chosen from a quarry in Italy and the carving will be done in Italy as well. After the cutting is complete, a traditionally trained sculptor will help me finish and polish the marble. The sculpture will stand roughly seven feet tall from head to foot.”

Susan Silas is a Hungarian-American national living and working in Brooklyn, NY.  She earned her MFA at the California Institute of the Arts.

Continuing with the female figure is the work of Bruno Walpoth, where the artist carves life-sized human figures from blocks of wood and finishes the sculptures with acrylic paint. He repeatedly covers and sands down the surfaces to mask evidence of the wood grain and achieve a translucent, skin-like appearance. The Italian sculptor is the son and grandson of wood-carvers, who grew up in a town known for its centuries-old carving tradition. He traces his inspiration even further back, to the deeply human portraits of early Renaissance painter Piero della Francesca. Within the context of figurative sculpture, it’s interesting and refreshing to see an artist reach back and create something so totally new, a metaphor for all visual art being made today.

Bruno Walpoth, Sara, Wood, Paint, 26 x 21 x 11″, 2015 (foreground) Adnan Charara, Masquerade, Acrylic and Oil paint, 60 x 60″ (background) Image Courtesy of DAR

In the background and nearby is the work of Adnan Charara, a Lebanese-American artist from Dearborn, Michigan who has lived and worked in the U.S. since 1982. His collage-like oil painting, Masquerade , assembles classical imagery that strikes a compositional balance using shape, line and color that draws the viewer into his imaginary figure. Adnan bought the historic Astro building in midtown in 2011 and developed it into a multifunctional space, including the Gallerie Camille, gift shop, two store-fronts and his sprawling subdivided studio.In his statement he says, “In general, my art should be viewed as a visual representation of the human condition. The realization of my thoughts and emotions through the creation of my art is a way for me to express my inner self. In turn, I understand that my inner self is merely a particular manifestation of the human condition that connects everybody, and so it may be said that by expressing my inner self and revealing personal truths, I am attempting to reveal truths about us all.”

Donald Dietz, Untitled, From a series Everything Changes, Digital Pigment print, 28.5 x 38″, 2018 Image Courtesy of Wasserman Projects

I was drawn to the photographic image by local photographer Donald Dietz, because it seems to transcend the bulk of conventional photographic work in a multitude of ways.  The translucent field of color seems to seep through the backdrop of this kneeling figure and the painting. The composition is based on this large space with objects that feel like drawings as bookends at the very bottom of the frame. It’s as if Dietz is holding up two images like a sandwich and creating a third image.  He says in his statement, “I love finding something that I think would make an interesting photograph and then doing what needs to be done to translate what I saw into the image I imagined it could be. I hope my work leads people to look at things they see every day, and take for granted, in new ways.”

Ryan Standfest, Factory Head No. 1, Archival Inkjet on paper, 30 x 30″ 2018 Image Courtesy of Wasserman Projects

Other than some prints at the Simone DeSousa gallery, a recent exhibition at Wayne State University ( THIS MUST NOT BE THE PLACE YOU THOUGHT IT WOULD BE) was my introduction to the artist Ryan Standfest with a graphic arts approach to an Americanized Constructivist sensibility that seemed dominated by his Rotland MFG. Company motifs post World War I. These formal industrial constructions of paint, ink, and enamel on cardboard reminded me of the Russian Constructivism that rejected the idea of autonomous art. This photograph, Factory Head 1, came from that exhibition and is better explained in that review. For the Detroit Art Review, Glen Mannisto writes, “The diversity of Standfest’s art stretches to performance theater and is represented by an installation of three “masks,” called “Factory Heads,” that he employed in a performance at MOCAD with an accompanying musical composition of factory noise created by Chris Butterfield and Mike Williams. In a sense Standfest’s “Factory Heads” sculptures and performance, covers of Bolshevik agitprop theater, are again in the Russian Constructivist spirit modeled after machine-like factory architecture with smokestacks and are accompanied by a Standfest poem that delineates the abject evolution of the working class.”  He says in his statement, “My enthusiasm for obsolete print ephemera such as comic strips, tabloid newspapers, postcards, catalogs, manuals and advertisements, is intended to highlight the fugitive value of authoritative cultural currency as it advertises our vision of the ideal.”

Portray includes paintings, photography, sculpture, works on paper, and mixed-media installations by Ken Aptekar (New York/Paris), Adnan Charara (Detroit), Donald Dietz (Detroit), Matthew Hansel (New York), Robert Raphael (New York), Michael Scoggins (New York), Esterio Segura (Cuba), Susan Silas (New York), William Irving Singer (Detroit), Ryan Standfest (Detroit), Koen Vanmechelen (Belgium), Jamie Vasta (Oakland, CA), Bruno Walpoth (Italy), and Hirosuke Yabe (Japan).

Wasserman Projects was conceived by Michigan-native Gary Wasserman and opened its doors in a former firehouse in Detroit’s historic Eastern Market, one of the oldest and largest year-round markets in the U.S., in fall 2015. Wasserman Projects is guided by a spirit of collaboration, recognizing that artist projects are best realized and most meaningful when they engage a broad range of cultural organizers, community leaders, and the dynamic and diverse populations of Detroit. The organization works with artists from across disciplines and around the world, presenting exhibitions and performances that will spark a discourse on art, but also cultural, social, or political issues, which are particularly active and timely in Detroit.

Wasserman Projects three Concurrent Exhibitions run through March 23, 2019

 

Rosen & Binion @ Cranbrook Art Museum

Annabeth Rosen: Fired, Broken, Gathered, Heaped and McArthur Binion: Binion/Saarinen, opens at the Cranbrook Art Museum

Annabeth Rosen: Fired, Broken, Gathered, Heaped (installation view), 2017. Photo by Gary Zvonkovic. Courtesy the artist and the Contemporary Arts Museum Houston.

McArthur Binion, Binion/Saarinen: I, 2018, oil paint stick and paper on board, Courtesy Modern Ancient Brown

Two Cranbrook MFA graduates, Annabeth Rosen (81) and McArthur Binion (73), have returned to the Cranbrook campus at the Cranbrook Art Museum (CAM) as seasoned artists with exhibitions that provide a platform to exemplify their accomplishments. The exhibition opened November 17th, 2018 and runs to March 10, 2019, easily utilizing the spacious galleries, especially the Annabeth Rosen exhibit, which is nothing less than mammoth in its scope.

I’ve written about McArthur Binion before and seen his work representing the United States at the Venice Biennale in 2017, so when this exhibition first came to my attention, I assumed Binion would be my focus.  But the exhibition of his work here at CAM is modest in comparison to the work of Rosen in both the Main and the Larson galleries.  Her work is the artist’s first major museum survey that archives more than twenty years of work. A critically acclaimed pioneer in the field of ceramics, Rosen brings a deep knowledge of the material’s history and processes to the realm of contemporary art.

Annabeth Rosen: Fired, Broken, Gathered, Heaped (installation view), 2018. Photo by Detroit Art Review.

Rosen’s work is curated by Contemporary Arts Museum of Houston’s senior curator, Valerie Oliver, and surveys two decades of her ceramic additive work that has a derivative aspect found in abstract expressionistic art. Her studies at Cranbrook under Artist in Resident Jun Kaneko encouraged her to experiment with non-functional forms and separate her work from the traditional role of ceramics as functional craft. Much of Rosen’s work is assembled with already-fired broken parts which have been reassembled, re-glazed, and ultimately re-fired, adding wet clay to the process.

Rosen says, “I work with a hammer and chisel, and I think of the fired pieces as being as fluid and malleable as wet clay.”

Annabeth Rosen, Fired and glazed ceramic, Bundle, and rubber ties.

The ceramic work is divided up into categories: Mash Ups, Bundles, Mounds and Drawings.  Some of the Mounds are bound together by wire, and others are smaller shapes (Bundles) that have been bound using rubber that might be made from a bicycle inner tube. Rosen began vertically stacking these bundles of ceramic and mounting them on a steel frame set on four wheels.  Rosen has developed an acute interest in non-functional ceramic forms as abstract expressionistic sculpture along with painterly compositions of paint on paper.

Annabeth Rosen, Paint on paper, 2014

It would be impossible to ignore the works on paper as a major force that directly relates to the ceramic work.  These compositions that are constructed with a gestural stroke are both studies and stand-alone work that underpins a philosophical and conceptual driven force behind her sense of creation.  The process in the drawing and ceramic work reveals her hand is symbiotic, where one influences the other.  Rosen seems to muster strength in her drawings as inspiration and influence for the ceramic sculpture work that follows. All the drawings, which could easily be considered paintings, are created without the consideration of color and this seems to this viewer to place the emphasis on the compositional creation of line, movement, shape and space. All the work, ceramic and on paper, is a bi-product of her internal meditations and illustrates a unique utilization and application of materials, techniques and concepts.

Annabeth Rosen, Installation view, Fired and glazed ceramic, and steel baling wire.

Annabeth Rosen studied at Alfred University (BFA) and the Cranbrook Academy of Art (MFA), and has gone on to teach at the Rhode Island School of Design, the University of the Arts in Philadelphia and the Art Institute of Chicago. Since 1997 she holds the Robert Arneson Endowed Chair at the University of California, Davis.

 

McArthur Binion, Binion/Saarinen: I, 2 – 2018, oil paint stick and paper on board, Courtesy Modern Ancient Brown

In Cranbrook Art Museum’s North Gallery, the Chicago-based artist McArthur Binion says that he had a note pinned to his wall for decades that read “Binion/Saarinen”,obviously something that came from his graduate studies at Cranbrook Academy of Art during the early 1970s. This idea is obviously generated from literally living on the campus and being surrounded by the Finnish architecture of Eliel Saarinen who immigrated to America in 1923 after the completion of the Chicago Tribune building in 1922 and who went on to be a visiting professor at the University of Michigan before developing the entire Cranbrook campus for George Booth. Perhaps it was the grids inherent in these architectural structures that made a deep impression on Binion, a Mississippi-born African American who developed his own visual language-based graphic elements, particularly circles and grids.

He says, “My work begins at the crossroads—at the intersection of bebop improvisation and Abstract Expressionism”, and at times he has described his work as rural Modernist.Binion uses oil stick, crayon and, more recently, laser-printed images to create his lushly textured and colored geometrically patterned works. The work in the Cranbrook exhibition is produced on board with small photo printed images as a background field for this tightly knit grid produced with hard pressed oil paint stick. These carefully measured grids and hand-done hatchings cover tiny images that usually have some personal meaning to the artist. In the past, the work often incorporated biographical documents, such as copies of his birth certificate or pages from his address book.

McArthur Binion, Binion/Saarinen: 2018, oil paint stick and paper on board, Courtesy Modern Ancient Brown

These new paintings use autobiographical photo imagery of both Saarinen and himself in their early thirties as a background for his delicate squared-off grid that could be easily described as minimalist abstraction from a distance.  Upon close examination, this personal element attempts to bond the two together, at least from Binion’s perspective.  In addition, the gallery space includes painting, drawings and furniture by Eliel Saarinen.

McArthur Binion’s paintings are largely symbolic and achieve an expressive resonance that defies the reductive materialism of minimalism. They are formed out of an unlikely confluence of influences, including such Modernist masters as  Piet Mondrian, and Wifredo Lam, as well as his own southern African-American heritage, reflected in his mother’s quilts and West African textiles. Persistence and discipline fortifies Binion’s practice and his succinct, richly personal compositions.

His work is included in the permanent collections of the Metropolitan Museum of Art, New York, and the Smithsonian National Museum of African American History and Culture, Washington, D.C.

Binion/Saarinen: A McArthur Binion Project is organized by Cranbrook Art Museum and curated by Laura Mott, Senior Curator of Contemporary Art and Design.

Annabeth Rosen: Fired, Broken, Gathered, Heaped and McArthur Binion: Binion/Saarinen, at the Cranbrook Art Museum runs through March 10, 2019.

 

 

 

 

Objects and Place @ The Scarab Club

A Spring Offensive

Be sure, on your next visit to the Scarab Club, to ascend the staircase to the lounge and “history” rooms above the first floor exhibition space. Upon arrival, make your way past the newly installed wood and yarn screens that momentarily obscure and mystify the familiar doorway into the capacious members lounge. There, awaiting your arrival, you’ll discover “Objects and Place,” a smart, telling transformation, by a collaborative trio of artists, of the dusky, fireplace dominated space.  Marie Herwald Hermann, Laith Karmo, and curator Addie Langford, have reconfigured and refreshed the familiar, cluttered space. Fusty vintage furniture (sofas, tables, and chairs) has been shifted to the margins of the room, drawing attention to the two patterned carpets that sprawl across the floor. Nor are any paintings visible on the dark, wood- paneled walls.

Installation view “Objects and Place”, 2018 – Photographic images by Jenna Belevender

After a brief scan, a few, widely spaced objects stand out: beefy white ashtrays dot sturdy oak tables (Karmo), disembodied vacuums pop up underfoot here and there (Langford), and hundreds of tiny multicolored pins, like an insouciant riff on mille-fleurs, adorn two walls (Hermann). Karmo’s stolid ashtrays, titled Meditating on Misogyny, elicit images of a brace of cigar-smoking men of an afternoon or evening opining on art, pulchritude, and the state of the world in an odiferous, nicotine-stained, smoke-filled man cave. Quills of aromatic incense stud the ashtrays, at the ready to exorcise the stale, tobacco-heavy ozone in favor of fresh air—and, presumably, fresh, alternate topics of discourse. One might also note that Karmo, no fan of prescribed, columnar pedestals, has found especially apt and congenial perches for his chunky stoneware receptacles on the Club’s vintage tables.

Laith Karmo, Meditating on Misogyny #1, Stoneware and incense, 2018

For her part, Langford’s wrecked, dismembered vacuums, shorn of handles and refuse bags, focus on the flat, distorted contours of the housing for motor, wheels, and brushes of a standard upright vacuum. Adding overlapping strips of tape in their wake, she suggests the back and forth, overlapping movements of her Sweepscompulsively scarfing up the accumulated dust and dirt—until they crash. While bearing a resemblance to roombas (said another viewer), Langford’s porcelain wrecks seem much more akin to powerful electric machines at the end of a fruitless, abandoned mission to tidy and neaten up the parameters of art and life. Perhaps too, at this point, a visitor, like this writer, belatedly realizes that the pale, lumpy object laid out on a bench on the landing of the Club’s staircase is in fact a porcelain rendering of a hollow vacuum cleaner bag.

Addie Langford, Scarab Club Lounge, Sweep/Head/Pink, Porcelain and mixed media, 2018

Hermann’s contribution to the “less is more” facelift of this dowdy room, except for her psyche altering screens at the entrance, might be overlooked at first. Absent the bevy of members’ paintings usually enlivening the walls, Hermann and Langford have inserted an array of colorful pins into the holes made by nails that secured thousands of pictures gracing the walls of the lounge since the completion of the club’s building in 1928. Now two multihued waves fifteen feet wide drift and flow freely and joyfully across the gravy-toned walls. Like a wide screen view of masses of swallows wheeling across the sky they evoke something of the tenor, breadth, and sheer number of artists and artifacts embraced by the Club over its long and memorable history.

Marie Hermann & Addie Langford, 28 – 62 #2, (detail) Pins, 2018

Admittedly, this décor altering re-do by team Hermann, Karmo, & Langford tweaks and pokes at the vintage ambience of the grand old Scarab Club housed in its venerable Arts & Crafts building, and its storied practices and programs. More significantly, what “Objects and Place”—and its renovating trio of makers–also sensitively and knowingly acknowledge, in concert with the interventions of generations of exhibitors, is the Club’s long-lived, broadly supportive aesthetic legacy. This eye-opening, conceptually savvy installation, albeit short-lived, now becomes part of its institutional history: perhaps in years to come as the spicy, spirited spring cleaning of 2018?

Scarab Club “Objects and Places” continues at the top of the stairs through May 19, 2018.

 

 

Susanne Stephenson @ Pewabic Pottery

Up, Down, and Around: The Impassioned Art of Susanne Stephenson

Susanne Stephenson, Transfigurement, Installation image by J. C. Perez.

Sweeping curves, twisting curlicues, and swirling whiplashes are the potent, rhythmic movements that generate the larger-than-life vision of the art of Susanne Stephenson. Simultaneously sculpture, vessel, and/or abstract form her terra cottas heave, spiral, and careen up, down, and around as a perceiver circles and dives into the come-hither interiors of her lusty landscapes and seascapes.

Susanne Stephenson, Bronze Luster Trojan Soup Tureen, 1976, porcelain, 8 x 10 x 10 in.

Handsomely installed in all three galleries of the Pewabic Pottery exhibition space, this expressive and timely retrospective numbers 34 signature works by the estimable Stephenson dating from 1976 through 2016. Ohio born, and a long-time Ann Arborite and professor of ceramics at Eastern Michigan University, she studied at Carnegie Mellon University and Cranbrook Academy of Art. The four decade evolution of her oeuvre now on view illustrates both the comparatively reserved, minding-their-own-business early vessels, such as the Bronze Luster Trojan Soup Tureen with horn-like handles from 1976 and the breakthrough Cut Edge Black Water Mountain of 1983. In the latter, the “mountain” peak has literally blown its top implied by a taut, upraised flap (sliced off and reattached in process), while the creamy, overflowing lava sets up a strong white/black contrast, both coloristic and tactile, between it—matt, chunky–and the dark, shiny circular mountain top.

Susanne Stephenson, Cut Edge Water Rush, 2000, terra cotta, 24 x 15 x 15 in.

Traditional vessel forms, such as vases, often serve as starting points for Stephenson’s windswept forms. In Cut Edge Water Rush (2000), for example, the rush of spiraling color and form circumnavigates the two feet tall shape at warp speed, its vibrant, multi-hued palette enhancing passage around the tapering form, as it whirls with the unflagging energy of a whirling dervish. Her universe seems alive with ceaseless motion, not unlike the insistent energy of a Jackson Pollock drip composition. (Stephenson, like many sculptors, was originally a painter.) Indeed, an expressionist aesthetic, whether German or Abstract or Californian (think Peter Voulkos), has surged into view multiple times in the course of the twentieth century.

Susanne Stephenson, Red Beach, 1993, terra cotta, 17 x 20 x 15 in.

Stephenson’s bowls, too, work similarly on a visitor, as in Red Beach (1993). One is swiftly swept round its form while the S-shaped, upraised flange, like an undertow, sucks an unwary swimmer-viewer into its depths. Spring Coast, also on display and sculpted the following year, offers another cathartic experience: glazed orange at the bottom segueing to green around the rim, it too seduces the viewer to lean and peer into its alluring recesses.

Susanne Stephenson, Blue Wave, 2007, terra cotta, 22 x 29 x 9 in.

The large scale of another cluster of works—thick, hefty, ovoid wall reliefs—may in fact be described as seascapes. Bearing such titles as Blue Wave, Orange Wave I, and Spring Wave II, and often two feet or more in width and projecting up to ten inches, they fully evoke the thrust and even brutality of waves crashing ashore. The weighty physicality of Stephenson’s roiling, tactile surf in these reliefs is heightened by vivid and furrowed swaths of color realized by mixing the slip with paper pulp. As such they resonate with the underlying, inescapable momentum of the universe, essentially Stephenson’s world view whether addressing the immensities of mountains and sea or transfiguring the domestic tropes of the land of clay (vases, bowls, platters).

Organized by a trio of curators, Darlene Carroll, Paul Kotula, and Tom Phardel, “Susanne Stephenson: Transfigurement” remains on view through May 13. Catch it while you can at Pewabic Pottery, 10125 E. Jefferson Avenue in Detroit.

 

 

Gerhardt Knodel @ Marshall M. Fredericks Sculpture Museum

The Marshall M. Fredericks Sculpture Museum Hosts Gerhardt Knodel’s “Minglings: A Journey Across Time”

Gerhardt Knodel, Installation View of Gallery, All images provided by Robert Hensleigh

Imagine, while still in high school, walking into a Hollywood costume design studio with your art teacher when, maybe, you’re working on the school play and its set design. Imagine the industry there, the flurry of energetic creativity. You’re behind the scenes where all the magic happens: where the costumes are made, where the bolts and bolts of fabric are transformed into costumes and furnishings for the imaginary world of movies.(Think “Spartacus” or “Ben-Hur” or “Gone with the Wind”). That happened to textile artist Gerhardt Knodel when he was in high school and it seems it was a transformative experience that Knodel took to heart and inspired him to dream very big dreams. From set designs with painted curtain drops for a high school Christmas play to a seventy-foot-high, textile sculpture that adorned the atrium of John Portman’s Renaissance Center in Detroit, Knodel has been involved in creating and transforming space. “Free Fall” was a series of brilliant, looping, arabesques of color that enlivened Portman’s brutal geometric concrete space into veritable waterfall of color. For years it was on the must-see list for anyone visiting Detroit. He did the same for the new south entrance atrium to William Beaumont Hospital as well, with a multistoried, multilayered tribute to doctors and scientists famed for healing others.

Considering he was head of the fiber department and ultimately Director of Cranbrook Academy of Art for 35 years, it is astonishing how many large-scale public art commissions he completed, how much his personal work evolved, while at the same time, as current Cranbrook Fibers artist-in–residence Mark Newport recently said, how instrumental Knodel was in making the Fiber Arts “more challenging and more attuned to the fine arts dialog than it had been before.”

His recent project, “Minglings: A Journey Across Time,” beautifully installed in Saginaw’s Marshall M. Fredericks Sculpture Museum, is no less ambitious or compelling. Rather than transforming a space or constructing an environment as he often has, Knodel turned to the other half of the classic philosophical Space/Time conundrum: Knodel explored time by composing a visual historical narrative.

Gerhardt Knodel,  Front and back of original silk tapestry (Kesi), China, Ming Dynasty, 17th Century

After finishing a large commission and while reorganizing and sorting through his extensive collection of historical textiles in search of a new project, Knodel rediscovered a Chinese silk tapestry. He mused over its beautiful but fragile, deteriorating state. Composed of stylized butterflies, insects, plant leaves and flowers, all floating in a pale blue sky-like background, Knodel realized its possibility. He rescued the deteriorating material by cutting small swatches out of the tapestry that still had physical integrity and contained the essence of its design. In short he played a version of the game of Exquisite Corpse with them, using the swatches as triggers or seeds, as in the game, to draw, as if growing, extensions of them evolving his own inventive forms.

Ultimately Knodel drew five different interconnected series that bloomed into a spectacular textile tour de force: along the way he discovered that what he thought were nineteenth century, were (valuable) seventeenth century Ming Dynasty tapestries created for the home of a probably very wealthy Portuguese family.  The mistake probably inspired Knodel to dedicate a great deal of creative energy and time in exploring their uncanny charms. Ultimately he composed this engaging, over-the-top, imaginary visual travel log of the tapestry’s voyage from Ming China, by Spanish trade vessels via Manila, to Acapulco, Mexico, then over land to another trade ship and off to Portugal. A gallery guide and superb video accompanies the exhibition to help us on the journey.

Gerhardt Knodel, detail of “Regeneration Series, #4,” mixed textiles

Translating the drawings into textile form involved inventing a medium that would hold up under the artist’s manipulation and give a degree of dimensionality as well as range of nuanced color to his drawings. Knodel laminated multiple colors of mixed textiles to foam backing and cut, by hand, tens of thousands, of what he refers to as tabs, which he then blended into a pointillist-like surface (to mix artistic metaphor) or as pixels, to color them. The result of his invention is a breathtaking range of color and exploration of possible forms.

There are 58 works in the exhibition that explore the theme of the delicate, weirdness of forms of nature (strange butterflies, insects, vegetation, flowers) suggested by the original tapestry. Knodel’s extension of their forms then are what his poetic vision gave birth to and they represent wonderful explosion of storytelling and delightful imagery.

In the initial series, entitled “It Had to Be You,” segmented tendrils with eyes at the end of each of them, explore the world around them. Some of the figures appear like hybrid of sea creatures and insects. The series, “Things That Get Caught in Trees After a Storm,” inspired by one of those uncanny plastic bags trapped in a tree’s limbs, reveal colorful, bulbous, ever-changing forms tangled in branches, blowing in the wind. They are at once exotic and even capture some of the comic extremes of nature.

Gerhardt Knodel, “Homecoming: Series #1-6, with “Minglings” #13. Shui, #2.Hui, #5.Mu, mixed textiles.

Knodel was revved up, it seems, when he began to realize that his creatures were beginning to have life of their own. Among the “Minglings” are a group of twenty-two, insect-like/sea-like/flowerlike and cartoon-like, creatures that were inspired by the Ming tapestries (so Minglings are spawn of Ming tapestries) and, speculating, of Knodel’s Hollywood upbringing in the cartoon land of Disney. Ranging in size from 24”x24” to 48”x48,” each has its own personality, they all have Chinese names and, in Knodel’s description of his fairy-like tale, make the journey from China, to Portugal to the New World. There are two works that establish a feeling of triumph. “Flower Powered” is a nine paneled work that celebrates the passage across the multiple seas that the tapestry would have seen. It’s really the abstract center piece of the exhibition and suggests the spectacular landscape of the earth while connecting to the original colors and design motifs of the tapestry. To provide a context, Knodel created a landing site for their arrival in Portugal, entitled “Homecoming,” (pictured with Minglings attached) and to complete their journey until someone else is inspired by his Minglings to continue it and connect with history and extend them even further into the future.

There is magic in Gerhardt Knodel’s Minglings project: in his extension and poetic elaboration of the original, in the execution of drawings and the invention of a medium give life to them and fantasizing their journey for his cut up Ming tapestries into a visionary spectacle. He captured something envisioned during one of greatest civilizations ever, the 17th century Ming Dynasty and continued the vision in his studio in Pontiac, Michigan, providing elegant evidence of the timelessness and value of human imagination and labor. It is ultimately a collective victory accumulated over time.

Gerhardt Knodel, “Minglings: Night Flyers (Wei),” 40”x38,” mixed textiles.

Gerhardt Knodel’s “Minglings: A Journey Across Time,” continues at the Marshall M. Fredericks Sculpture Museum, Saginaw Valley State University, through May 19, 2018

Also at the Marshall M. Fredericks Sculpture Museum see: “Chinese Folk Pottery: The Art of the Everyday” curated by Marie Woo.