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.

Virginia Rose Torrence @ Trinosophes Gallery

Virginia Rose Torrence, Ceramic, Installation image courtesy of Ali Lapetina.

Wandering through Professor Tom Phardel’s department studio at the College for Creative Studies several years ago, I noticed an enigmatic shaped tea set— two small cups and tea pot—sitting on a shelf waiting to be fired in the kiln, that could as well have been made by an artist from the early 20th century. Seductive, biomorphic shapes bulging with curves and openings, lip-shaped edges, and resting in feline-like posture, it was nevertheless restrained, unassuming and, quite simple and strangely beautiful. A few weeks later at the annual CCS student show, I discovered it once again on a display shelf, but now it had a slightly glistening, pinkish, and minty skin like pigmentation; they were now complete and transcendent.

Virginia Rose Torrence, “Untitled (teapot),” 6”x6”x7,” ceramic, 2011  Archive photo.

I only mention these earlier works of Virginia Torrence because of the radical change in the new work exhibiting at Trinosophes Gallery in the market area of Detroit. Since her precocious student work, Torrence has shifted perspectives. Moving from celebrating the palpable and bodily in remarkable forms, the new work’s focus is on the act of assembling parts, to picture, in a painterly-like space, in mosaic, a collage of fragments. It was not just a case of a need for change of artistic strategy but it seems a philosophical and psychological relocation. The time-honored tradition of Detroit artists mining the local landscape for materials to make art seems to have grafted on to her new art process. With her husband, artist Henry Crissman, Torrence has become a tenant of the city, living in an iconic Hamtramck neighborhood and working in Cass Corridor gallery and like all the artists who have lived there before, scouring the landscape for pieces of history. Instead of a focus on an inward awareness and desire (in her writing she speaks of “desire” as the emotional engine that drives artists to make art) her perspective is from the center outward.

Virginia Rose Torrence, “Untitled,” 48”x69,” ceramics, glass, orange peel, foam, leaves, resin on wood, 2017. Image courtesy of Ali Lapetina

Assembled from gathered ceramic shards and kitschy objects from all over the place—from the shore of Detroit’s Belle Isle, to distant suburban thrift shops, Dollar stores and Craig’s list and remnant shards from other artist’s studios—Torrence has embedded the city in her mosaics. And like her biomorphic tea set her mosaics exhibit a brilliant sensibility. Arranged in a less than a planned scenario, each mosaic suggests an intuitive series of gestures, not unlike the operation of an abstract expressionist painting, that suggest fragments of images and ideas, but not composed narratives. The eye behind the assemblage of shards is fascinating. At once like making a puzzle—finding which shard “fits” where—while composing the spaces between at the same time. It merits a long look, suggesting the honored life of byzantine religious mosaics while revealing the kitschy and derelict simultaneously: a discarded, periwinkle-blue latex glove, an exploding banana, a vase. Torrence’s is a charged poetic strategy.

One can find these “pictures” in the mosaics–references to eating, plastic and real fruit, like sections of an orange or banana, flowers and engaged figures and maybe even self-portraiture and still-lives, even to biblical stories (there’s even a serpent and pear in one mosaic) — but the overall impact of Torrence’s mosaics is celebratory. Each tesserae and object of the eight mosaics is embedded in either a plastic (resin) medium or cement-like grout. The use of plastic resin as a grout gives a glistening, “juicy” (to use Torrence’s word) sensuous vitality to the surface. The mosaics seem to be alive with an inner light and activity and, due to their impeccable positioning, each tesserae seems to vibrate like a molecule. A close-up of one mosaic suggests an ocean tide pool teeming with foamy life, or an erotic flower spreading its seeds.

Virginia Rose Torrence, “Untitled,” 11”x8,” ceramics, glass plastic, resin on wood, 2017. Archive image.

This change, from voluptuous, animal forms to flat, chance driven arrangements, is similar to the shift in the work of the great French-German artist Jean Arp who went from sculpted torsos early in the century, to colorful, flat abstract amoebic shapes by midcentury. In Torrence’s shift, and it seems in Arp’s as well, it is a change from the individual, body-personal to the collective, body-politic, from the sensuousness of smooth sculptural forms to the tantalizing arrangements of objects found in her new space and arranged by the energy of one shape encountering the Other, of Torrence encountering new elements in a new landscape. In a short text about the new work, Torrence said, “I am searching for the piece as I make it. The process is a collaboration between myself and the materials, vestiges of time, that I am piecing together onto a singular plane.” The hybrid mosaic form and expressionistic strategy she employs is an ideal fit in reviving an ancient art for a modern cause.

Virginia Rose Torrence,”Untitled,” 33”x22,” ceramics,glass,rubber glove, lemon, resin on wood, 2017. Archive image.

Trinosophes Gallery – Virginia Rose Torrence’s work through end of January, 2018

1464 Gratiot Avenue, Detroit, MI. 48207     313-737-6606

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