Group Exhibition @ N’Namdi Center for Contemporary Art

Jennifer Junkermeier Curates and Michaela Mosher Designs an Exhibition: Round in Circles.

Installation Image, Round in Circles, N’Namdi Center for Contemporary Art, All Image Courtesy of the Detroit Art Review

For a gallery owner to ask someone to curate an exhibition is both exciting and a little risky.  But George N’Namdi has been in this business for more than thirty-five years, and he knows exactly what he’s doing. By inviting a guest curator Jennifer Junkermeier, he is injecting new energy into his space, one that capitalizes on Detroit-based artists (33) and may very well bring new audiences into the gallery. Simone DeSousa has done something similar in her gallery, recruiting Nancy Mitchnik to curate some 70’s aging Cass Corridor artists (she is one herself) into her gallery, and both go outside the regular season because summer is the right time to do it.  This is N’Namdi’s third annual summer show of Detroit artists with an invited curator. In 2016 it was Essay’d VI by Steve Panton, and 2015 was Mundo ‘Mericas curated by Vito Valdez.

Opening June 16, 2017, Round in Circles, is a collection of Detroit-based visual artists that provide nearly every medium, including painting, drawing, sculpture, video, projection, and literary work on the wall. If you need to tie that together with an idea, why not use the circle as a place to start, if not literally in the work, then probably in the mind of the artist, or a metaphor that applies to almost anything, dating back about 3000 years. She says in her statement, “Yes, going round in circles is dizzying, at once nauseating and exciting, impoverished and plentiful, the form that implies nothing also embraces the possibilities of being everything.”

It’s a pleasure for a writer to pick out some favorites, and say a little something because it is almost impossible to write a review when there is such a variety of work as there is in this exhibition.

Graem White, You Are Here: Center of the Universe, Mixed Media, 11.5 x 14″

Graem Whyte is an artist that works with a wide variety of three-dimensional material, sometimes on the floor, sometimes on the wall.  Born and raised in metro Detroit, Whyte is based in Hamtramck, MI where he and his wife Faina Lerman oversee the community-based activity at Popps Packing. Whyte’s work always feels very unconventional, driven more by the idea than the material, illustrated in his one-person exhibition at Oakland University in 2012. In his work, You Are Here, it seems to play on the border, a manipulated LP record, a gold plate, and a burst of Mixed Media, suggesting that music can be concrete. Graem Whyte is an adjunct art instructor at the Center for Creative Studies.

Shanna Merola, Untitled 2, from series “We All Live Downwind”, Archival inkjet pigment print, 14 x 20″

The photograph by Shanna Merola, from the series, We All Live Downwind, seems driven by her interest in documentary photography, and a deep concern for social justice. This writer is not trying to figure out the context of these orange gloves holding a ceramic dish, rather – enjoying the surrounding and colorful pieces of torn paper. Merloa was born in Bridgeport, Connecticut, 1980, earned her BFA at Virginia Commonwealth University, and an MFA Cranbrook Academy of Art.  She lives and works in Hamtramck, Michigan.

Todd Stovall, Untitled, Acrylic, Wood, 2 x 2′ 2017

Detroit artist Todd Stovall keeps the minimalist shaped canvas work alive in his work, Untitled, although this piece is entirely made of wood.  The context for this kind of approach might be artists like Charles Hinman, Ellsworth Kelly, and Frank Stella.  Stovall is not trying to do much with color, rather the simple power of shape, although the red wall is there to support his effort. 

Clara DeGalan, A Veiled Asking, Oil on canvas, 2016

This oil painting, A Veiled Asking, by Clara DeGalan reflects a deep and progressive direction from her earlier work in graduate school, an MFA from Wayne State University in 2015, and a two-person exhibition in 2016 at the Birmingham Bloomfield Art Center. It’s this idea of transparency and the illusion of dimension that creates a mystery that leaves us wanting, combined with an offset but a sturdy sense of composition. All of this held together by a circle and a piece of blue tape. Lovely. 

Round in Circles is a group exhibition that explores formal and metaphorical implications of the circular.” Says Junkermeier.  The exhibition could send a signal to other galleries, to experiment (certainly some do) during your summer months, and realizing there is limited space for thirty-three artists, at least I can mention their names as part of this exhibition.

Contributing Artistis: ‘jide Aje, Danielle Aubert, Corrie Baldauf, Davin Brainard, Tyanna J. Buie, Alexander Buzzalini, Shane Darwent, Clara DeGalan, Simone DeSousa, Erin Imena Falker, Jessica Frelinghuysen, Ani Garabedian, Richard Haley, Asia Hamilton, Megan Heeres, Eli Kabir, Osman Khan, Austin Kinstler, Nicola Kuperus, Timothy van Laar, Anthony Marcellini, Adam Lee Miller, Shanna Merola, Eleanor Oakes, Ato Ribeiro, Robert Platt, Marianetta Porter, Dylan Spaysky, Todd Stovall, Gregory Tom, Graem Whyte, Elizabeth Youngblood, and Alivia Zivich

N’Namdi Center for Contemporary Art

Round in Circles through August 26, 2017

Michael Scoggins @ Birmingham Bloomfield Art Center

The Robinson Gallery at the Birmingham Bloomfield Art Center (BBAC) is home to a new exhibition by New York artist Michael Scoggins, opening April 28, 2017.

If you’re expecting landscape, figurative, representational, or abstract artwork, this is not one of those. If I had to place it in context, it would more attuned to the Pop art movement, where Andy Warhol took the image of a Campbell’s soup can and increases its scale, often repeating the image multiple times. Here in the United States, Pop art started with the New York artists Andy Warhol, Roy Lichtenstein, James Rosenquist, and Claes Oldenburg, all of who drew on popular imagery that eventually became an international phenomenon. Pop artist’s celebrated commonplace objects and people of everyday life, in this way seeking to elevate popular culture to the level of fine art.

Michael Scoggins, Bart Art #1, Colored Pencil on Paper, 67 x 51″, 2014

The work of Michael Scoggins takes on the politics of childlike imagery and dramatically changes its scale. If this work were executed on an average piece of notebook paper, 8 ½ x 11”, it would be appropriately displayed in an elementary school gymnasium exhibition. The key concept here is scale. These large 50 x 70” pieces of paper carefully simulate the torn out notebook sheet and illustrate the horizontal thin blue lines and the vertical red line on the left. In the imagery from The Simpsons, the character of Bart is reaching out, “Don’t have a Cow, Man.” Well, maybe he’s reaching out to his audience, a kind of confrontation about this iconic image hanging on a gallery wall while appealing to lovers of this character that was first developed by Matt Groening in 1989, and the Fox sitcom now in its 29th season.

Michael Scoggins, I Was Born…(Frida), Graphite, Color Pencil, on Paper, 67 x 51″ 2016

The imagery displayed in Scoggins work is mixed. You have a child’s rendition of a Frida Kahlo work, as in I Was Born…(Frida) with commentary, to a copy of a two-dollar bill, or often an entire sheet of paper devoted to a page of childlike penmanship, repeating a controversial sentence the entire length of the page. There is the possibility that the work is autobiographical, and takes the viewer back to transformative years of Scoggin’s youth. Few of us would disclose our fourth-grade classroom illustrations and present them later in life, after an MFA in painting, as fine art.

Michael Scoggins, Explosion Drawing #4, Marker, Color Pencil on Paper, 67 x 51″ 2014

In many, if not all, of the labels we have given to artistic movements since the beginning of time, is the reason why I go to the Pop Art movement to explain Michael Scoggins work. We have artists, today, that are producing minimal sculpture, impressionistic paintings, abstract expressionistic canvases, and photographic realism, all part of a continuation of movements that began in the past. This concept is an endeavor that transforms youthful memories onto large re-created sheets of notebook paper, to comment on narratives that are nostalgic images and make us take notice. Scoggins uses “Michael S. as a caricature of his younger self, in deliberately creating a signature, and uses nuances of crumpled, folded, sometimes torn or folded paper, to create the facsimile.

“The work I make is always political,” says Michael Scoggins, who satirizes art-world politics and provincialism in penetrating, disarming schoolboy-style doodles and writings. “I feel the ‘Michael S.’ character has definitely transformed over the years and has become more of an extension of my adult self,” Scoggins has said. “I want to present my work with sincerity, and it is truly a reflection of my inter-self.”

Michael Scoggins work is included in the permanent collections of the Museum of Modern Art (New York, NY); the Hammer Museum, (Los Angeles, CA); the Mattituck Museum (Mattituck, CT); the Gettysburg Museum (Gettysburg, PA); The Savannah College of Art and Design (Savannah, GA); along with several prestigious private collections. In addition, Scoggins is one of Wasserman Projects’ artists and his work was first shown in January 2016 at their gallery in Detroit, Michigan.

He lives and works in Brooklyn, New York

The BBAC mission is “to connect people of all ages and abilities with visual arts education, exhibition, and other creative experiences.” They accomplish this by offering classes, exhibits, workshops, camps, and events to the public since 1957.

Michael Scoggins     Birmingham Bloomfield Art Center      April 28 – June 9, 2017

 

Campins & Yaque @ Wasserman Projects

Two Cuban Artists create work from the City of Queen Anne’s Lace

Alejandro Campins & José Yaque, Installation image. All images courtesy of the Detroit Art Review.

Wasserman Projects opened a new exhibition of work by two Cuban-born artists, Alejandro Campins and José Yaque on April 21, 2017, curated by Rafael DiazCasas, a curator based in New York City. The exhibition, City of Queen Anne’s Lace,  grew from conversations when gallery owner Gary Wasserman saw the work of Campins while on a visit to Havana, Cuba in 2015 and had an intuition about the resurgence of art that grew out of a developing transformation, both here in Detroit and Havana.

José Yaque, Autochthonous Soil, Found objects, earth, oil, plants, 16 x 13 x 4′ 2017

I visited the exhibition shortly after it opened to experience an installation by José Yaque that captivates one’s attention anew, a construction, Autochthonous Soil, built on a wood frame, 16 x 13 x 4’. This rectangular mass depicts a cross-section of material indigenous to a collection of debris in and around the vacant lots of Detroit. The bottom is created from fieldstone bonded with mortar, followed upward by human created debris, then burnt housing remains, capped off with sod and flowers growing on the top level. The young Cuban artist, who lives and works in Havana, has created in his exhibitions a combination of works on paper, and installations. Recently, in 2015 while in residency, he created a large hurricane / tornado type installation stretched from floor to ceiling, encapsulating wood and metal debris, all tied together with straps of metal. It is as if once Yaque has an impression in mind, he executes the installation with a construction that communicates permanence, both in material and scale, resulting in a powerful impression.

In a statement from her press release, Director Alison Wong says, “For the exhibition here at Wasserman Projects, Yaque has constructed a large-scale installation on site in the gallery, using recycled material sourced from throughout Detroit. Inspired by the study of earth’s interior, the work visually and conceptually references the layering and archiving of experience and the changes that naturally develop through time.”

José Yaque, Detroit Houses series, Photo Transfer & Charcoal, 2017 All work courtesy of Galleria Continua

Drawn to urban landscape compositions, the installation is accompanied by a series of images on paper. The series Detroit House, mixed media on paper, is a collection of nine images captured on his earlier visit to Detroit photographically, and then a photo transfer is made, and hand rendered charcoal is added to personalize the work. He provides the viewer with an architectural assortment of large dwellings that typifies housing styles constructed from the early part of 20th century in Detroit. His exhibition career began after studies in Cuba at the Superior Institute of Art, but has spread to include venues in Italy, France, London and the United States.

Alejandro Campins, Vientre ll, 102 x 152″, Oil on Canvas, 2017 All work courtesy of Sean Kelly Gallery, NYC

The work of Alejandro Campins provides the viewer with the large canvas of urban structures that speak to both representational imagery and abstraction. The work, Vientre ll, 102 x 152” relies heavily on composition, color, and scale. Although this image may rely on the reference from an architectural photograph, Campins provides the viewer with a romantic vision that blends history and memory. There are multiple elements that deliver on imagery that makes us feel secure. Added to the mix is subdued color and illusion, which draws the viewer into this dark centered box, where the artist decides to not continue with the brown rectangle above the protruding marquee. It is a strong example of combining representation and abstraction.

Alejandro Campins, Vientre, 70 x 102″. Oil on Canvas, 2017

 

Much of the same can be said of Vientre, 70 x 102” regarding representation and abstraction in one painting. The combination of formality presented with a heavy hand plays against the offset square with a red dot. In addition, the viewer is presented with a perspective that leads inward to a dark place, intentionally creating a secluded mystery. The work in these two paintings of abandonment creates metaphysical spaces veiled in silence and an unoccupied beauty of a time gone by.

Alejandro Campins had his first exhibition, Lapse in the United States at the Sean Kelly Gallery in New York City in February 2016, where Kristine Roome writing for ArtFuse said, “Campins’ style and vision are expressly his own. And how could it not be?  Formed by his experiences living on an ostensibly allochronic island, known for its cultural diversity – built from Spanish, African, French and Asian influences – Cuba is a curious place. In a few short years, Campins has developed an impressive portfolio of solo exhibitions in Cuba and Spain, and has been featured internationally in biennials in Cairo, Lisbon and Havana.”  Campins was named a finalist for the Farber Foundation as Young Cuban Artist of the Year in 2015.

Curator Rafael DiazCasas says in his statement, “Campins and Yaque came to Detroit with new eyes, exploring the history and looking toward the future. The Fields of Queen Anne’s Lace that overtake and inhabit the city can be thought of as a temporary stage, one with the potential to spawn new growths of life. Campins’ and Yaque’s mutual gaze encompasses a society in change.”

Wasserman Projects is guided by a spirit of exploration and collaboration in a space that seems to have no limits on its variety of experience and exhibition.

Wasserman Projects   Queen Anne’s Lace, through June 24, 2017

 

 

 

 

Anderson & Youngblood @ Galerie Camille

Carla Andersen, West Fjords 5, Iceland, Archival pigment print, 30 x 40″ 2016

There is a striking contrast between the work of Carla Anderson, photographer, and Elizabeth Youngblood, abstract artist using various mediums, now on exhibition as Chosen Silences, opened in midtown Detroit, at Galerie Camille, April 7 – 27, 2017.

These two artists share an attraction to abstraction and contemplation but deliver their ideas using different media. This certainly must have contributed to the idea of an exhibition together as the work is not presented in different spaces, but is intentionally integrated, with the purpose of bringing the viewer along as they peruse the gallery space. It’s a good idea.

Gallery director Melannie Chard says, “Chosen Silences blends the work of Anderson and Youngblood to create an environment of quietude and contemplation of form, texture, tension and light.  While each artist works in a different medium, both have chosen to communicate in that space of quiet. In that space of what would seem silent, but isn’t.”

Carla Andersen, West Fjords 4, Iceland, , Archival pigment print 44 x 52” 2016

Anderson’s photography reminds me, at times, of how I feel when I am looking at a color field painting. These large, 30 x 40” images (sometimes digital, sometimes film) are about the space in nature, captured beautifully using large format cameras, and presented in a way that does not go unnoticed. And I must mention scale, because these photographs would not have the same impact if they were printed in, say, 8 x 10”. The large-scale print brings the viewer intimately closer to the subject, as in West Fjords 5, photographed in Iceland, in a way that draws you into a universe of these small stones or in the reveal of an oncoming night sky in Emmett County.

Carla Andersen, Emmet County, Michigan, Archival pigment print, 30 x 40″ 2016

There is a large context for Andersen’s work, who was awarded her BFA from CCS, 1976 and her MFA from Cranbrook in 1978. Her influences could have been a combination of Carl Toth and George Ortman, both teachers at the studio-based Cranbrook Academy of Art during the 1970s. Probably more important would be her exposure to the work of Edward Weston who did abstracts of the desert, as in Oceano 1936, Eliot Porter, as in Pool in the Brook, 1953, or more recently, Joel Meyerowitz as in his large color image, Dawn Hardline, 1980. This work, sometimes called non-objective, relies less on representational objects and more on color, light, texture and form that conveys a feeling or an impression. I have always been drawn to the work of Man Ray’s series called Symmetrical Patterns from Natural Forms first exhibited in Germany in 1914, where he experimented with objects, light and form. The American, a Russian immigrant from Philadelphia would become close friends of Marcel Duchamp and engage in avant-garde photography throughout the 20th century. That’s not to say Andersen’s work is avant-garde at this point in time, because of the groundwork laid down for nearly a hundred years of photography.

Carla Andersen, Great Salt Lake, UT 35, Archival pigment print 30 x 40” 2016

The symmetry of Great Salt Lake stops the viewer in their tracks when they notice the reflection of the sky in the lake, and the two objects juxtaposed: the moon and a small log in the lake. The illusion makes one feel as though they are out in the lake viewing the sliver of landscape (when actually they could possibly be on a shore), and upon close observation, there is a one percent downward tilt to the right to the horizon. It is the combination of these subtleties that make this image so powerful. It’s worth mentioning that Larry Melkus at Fine Arts Printing executed the printing and mounting of these prints. He says, “Carla and I came up with a double archival cold mounting process. The print is flush mounted onto a 3mm white archival plastic sheet. This is then float mounted onto a larger sheet of white aluminum composite material. The effect is that the print is displayed on its own “pedestal” within the frame. In addition, John Rowland painted his frames to match the white of the print surround, resulting in a subtle display of visual strength surrounding, framing and showcasing the photographic work.”

Elizabeth Youngblood, #6 Flat Horizontal Wire and porcelain, 14″ 2013

Elizabeth Youngblood’s work is multi dimensional, a mixture of three-dimensional objects made from ceramic and wire, and a collection of black and white drawings on paper. The contrast between the porcelain bars and the strands of thin black wire, as in #6 Flat Horizontal, provide an interesting play between material and as a relief, the shadows from the light adds to the dimension. Youngblood was awarded a BFA from the University of Michigan and an MFA from Cranbrook Academy of Art, where she studied design with the McCoys, who I have turned to several times for design work. No doubt they had an influence on her work, probably more about the process of developing conceptual ideas. It’s possible this eventually led her away from working as a graphic designer, more towards to becoming a fine artist.

Elizabeth Youngblood, Untitled Really, Wire and Porcelain, 2014

Clara DeGalan wrote about Youngblood’s work in fall of 2016 at 9338 Campau for the Detroit Art Review, saying “Youngblood respects making, and, though she is acutely aware of the cultural associations that come with each material she ropes into her vision, her devotion to process and skill-building manage, miraculously, to shed the oppressive political discourse that has hung around craft for decades and present it, unilaterally, as a vast conduit for exploration of an artist’s conceptual vision.”

It’s always a challenge to decide how large to make a three dimensional piece of work. If I were to dare to offer a constructive idea for her work, it would be to pay more attention to scale, pretty much across the board.

Elizabeth Youngblood, Large No. 3, Graphite on Paper, 42 x 45”, 2011

In contrast to the more didactic and delicate wire pieces, and in a minimalist fashion, Youngblood makes the drawing, Large No. 3, where she applies more graphite than is necessary to make a point about the material and the pressure applied. In this drawing, she illustrates ‘no fear’ in executing a powerfully bold and massive block composition, challenging her viewer to ponder her intent.

Chosen Silence, Galerie Camille     April 7 – 27, 2017

 

Cody VanderKaay @ Oakland University Art Gallery

Cody VanderKaay, Installation image

Cody VanderKaay’s solo exhibition, Terrestrial Celestial, opened March 3, 2017, at the Oakland University Art Gallery, where Dick Goody, Art Chair, and curator at OUAG, turns inward to one of his associate professors to exhibit new work that takes the viewer in a variety of visual art directions. On the ground or in the sky, VanderKaay presents three-dimensional work that has delicacy as in the Orange Shed, versus blunt boldness, as in Six Views.

So where is this artist in his creative trajectory? I would say he is exploring an inner sensibility he has developed since his youthful years of art experience combined with his MFA at the University of Georgia, where he gives us his take on three-dimensional form.

Cody VanderKaay, Orange Shed, Latex on Basswood, 2016

The delicate relief, Orange Shed, using basswood and latex, reminds me of relief work from the 1950’s in the United States that was mostly decorative, with the exception of an artist such as David Smith. Smith combined found objects, worked in metal based on his experience working in a car body shop. The shared element with VanderKaay’s work is largely based on Constructivism, a modern art movement that flourished in Russia, then moved to Europe during the early parts of the 20th century. The central concept is placing the priority on the material employed, versus the subject matter or motif. The materials to express an idea dictate the form. The fundamental analysis of the material leads to the function. This idea shapes VanderKaay’s other work as well.

Cody VanderKaay, Six Views, Concrete 2017

Borrowing on ideas presented by Minimalist artists, be it Donald Judd or Robert Morris, the early 1980s brought a shift from Abstract Expressionism to a pared-down, three-dimensional object with little reference to real objects. The new vocabulary was simplified geometric forms created from humble industrial material. VanderKaay provides a repetition of nine “house-shaped” concrete objects in Six Views with an angled bottom that provides the observer with a parallel view.  It would seem variations on this theme could produce a body of work on its own, as the aesthetics are pleasing, even comforting to the eye, whether it appears in relief or as a taped drawing on the wall.

Cody VanderKaay, Bündner Schist, Crepe Tape on gallery wall, 2017

The large black-taped drawing on the gallery wall, Bündner Schist, reinforces elements in the overall exhibition, like a roadmap to his thinking.  He builds an amalgamation of trapezoids and variations that make his statement clear and concise, one that offsets the more three-dimensional work that dominates the overall exhibition. As part of the exhibition, we are confronted with the large assemblage of mixed media, Ball Drop, where the artist has presumably collected and large variety of materials and objects that met his fancy, not so different from when an artist collects things they like, placing them on a table (or wall) in the studio.  Not quite understanding how this fits into the overall exhibition, I asked VanderKaay to explain this in the last question presented in a short interview.

Cory VanderKaay, Ball Drop, 2017

Ron Scott: How and where did you first get interested in visual art?

Cody VanderKaay: I lived in both rural and suburban environments of the Midwestern, Southern, and Western United States. Periodic relocation and travel allowed me to experience a variety of living situations, routines, pastime activities and occupations that inevitably shaped my curiosity. As the son of a residential contractor, I was frequently exposed to architecture, trades labor, carpentry and the graphic art of drafting. As a young man, I trained myself in a number of related skills and techniques, when, eventually my proclivity for making art objects became my principal interest.

I studied sculpture at Northern Michigan University’s School of Art & Design and the University of Georgia Lamar Dodd School of Art, where I received my MFA. After graduating, I relocated to New Orleans to teach visual arts at Loyola University. Today, I am an Associate Professor of Art at Oakland University teaching sculpture, drawing, and fundamental art courses full-time.

RS: How has your worked evolved since college?

CV: The biggest and best change is an ability to identify when my intellect, technical ability and resources are in concert with one another, and encountering that moment again, in the finished artwork.

RS: How is it that you work in such a variety of material?

CV: I’m attracted to the range of qualities and technical constraints that raw materials and objects have; the combinations seem impossible to exhaust.

RS: What artists have most attracted your interest?

CV: Dil Hildebrand, Anne Truitt, Herman de Vries, Ilya Bolotowsky, Norman Dilworth, Tony Feher, and Richard Wentworth

RS: Your work seems to stand alone as single individual pieces. How does the large assemblage on plywood relate to the other work?

CV:The large plywood piece titled Ball Drop wasn’t conceived as an artwork per se, but rather as scaffolding or drawing of sorts. It’s evidence of the forms and subjects I was thinking through in the studio while making the other artworks in the exhibition. The title is a reference to the phrase ‘the penny has dropped’ and points to a realization or discovery that follows a long period of exploration and questioning. Many of the elements comprising the wall are residual, while a few are deeply personal. For example, the small oil painting of the Alps originally belonged to my Grandmother. The painting was given to her by her father when she left the Netherlands for the United States in the 1930’s. I coveted the painting as a child and acquired it after she passed. The wall doesn’t summarize the exhibition, but examining it closely will reveal more about the relationship between the other artworks on display.

RS: Anything else you would like to say?

CV: I find the challenges of working with self-imposed restrictions to be intellectually stimulating and personally significant. A large majority of my artwork is composed of irreducible elements and simplified forms, with surface qualities that raise questions about the substance and physicality of their forms. I often move between disciplines, on two or three projects at a time, and display finished work as a sequence or series of related artworks to bring formal and contextual concerns in closer harmony with one another. I use fabrication, mold making, casting, drawing and collage to produce my sculpture and two-dimensional artwork.

There are artists who focus on a subject for forty years, providing variations in size, color palette, composition and material. Cody VanderKaay is an artist who does not limit his expression to a genre. He is eclectic in his approach to creating his art and, most important, he is curious. Cody VanderKaay is giving an artist’s talk in the OUAG gallery on Thursday, April 6, at NOON.

Cody VanderKaay, Terrestrial Celestial, Open at OUAG – April 9, 2017