To the End of the Earth @ Detroit Artists Market

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

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

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

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

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

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

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

Clinton Snider, Senic Overlook, Mixed Media, 2016

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

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

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

 

Group Exhibition @ Oakland University Art Gallery

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Oakland University Art Gallery

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

 

Epicenter X @ Arab American National Museum

Exterior, The Arab American National Museum, Dearborn Michigan, 2017, All images courtesy of the AANM

Epicenter X is a small exhibition, but as the Michigan’s first significant show of contemporary art from Saudi Arabia, it carries some cultural weight. Featuring works by 20 emerging and mid-career artists, this traveling show, supported by Saudi Arabia’s newly established King Abdulaziz Center for World Culture, has already worked its way through six other venues as it travels across the country; future stops include New York and Washington D.C. Through October, Epicenter X can be viewed at the Arab American National Museum in Dearborn, Michigan, a city famously home to the nation’s largest concentration of Arab Americans.

In the exhibition catalogue, Devon Akmon, director of the AANM and curator of the show, writes that although Saudi Arabia is a crucial ally of the United States in the Arab World, little is known in America about its people or its culture. Redressing this, Epicenter X seeks to challenge stereotypes of Arab culture by amplifying the voices of contemporary Saudi artists with a particular emphasis on the exploration of “urbanization, globalization, religion and the impact of American popular culture in Saudi society.”

Ahmed Angawi, Wijha 2:148 – And everyone has a direction to which they should turn, 2013, Digital Lenticular Print mounted on Aluminium

The exhibition features photography, graphic design, performance, video, sculpture, and painting, frequently delivering traditionally Arabic forms (particularly calligraphy) through modern media. While much of the art on view is clearly rooted in hundreds of years of Arabic visual culture, other works are emphatically contemporary, making conceptual, politically-charged statements on current issues like immigration, Guantanamo Bay, or the 2011 Arab Spring (its reverberations still echoing in Syria today).

Qamar Abdulmalik’s Asylum of Dreams, for example, presents viewers with a functional mechanical-claw arcade game filled, not with toys or plush animals, but passports from several dozen countries; they’re teasingly on display, yet, like political asylum itself, frustratingly unattainable for many people. The work is a poignant metaphor of the plight of those with no state-established identity– people who, as Abdulmalik movingly states, “are homesick but have no place to be homesick for.”

Qamar Abdulmalik, Asylum of Dreams, 2017, Crane Machine installation with printed passports

Similarly addressing a serious issue with understated humor is Musaed Al Hulis’ Ideologies for Sale, a vegetable cart ironically equipped with a prominent mihrab, the ornamental architectural element found in any mosque which indicates the direction of Mecca, toward which all the world’s Muslims pray. In this wry juxtaposition of a fixed point with a mobile pushcart, Al Hulis criticizes “cheap ideologies, seasonal beliefs, and lack of direction…toying with compliant minds, solely in the pursuit of power, supremacy and profit.”

Musaed Al Hulis, Ideologies for Sale, Mixed Media on Wood, 2013

Many works on view inventively translate traditional Arabic culture into a 21st century visual language, such as Nugamshi’s visually hypnotic “calligraffiti.” There’s a calligraphic work created on site in the show’s primary exhibition space, but a video on the AANM’s second level shows the artist at work on other projects, and his process is thoroughly mesmerizing. Nugamshi spreads canvass on the ground and enacts a sort of dance with a large paint-loaded brush (which looks like a broom), which he gracefully swoops across the canvass in rapid strokes while somehow maintaining absolute control over the subtle variations in the value and thickness of each calligraphic swipe. The result is something which has both the curvaceous elegance of traditional Arabic script and the raw intensity and large scale of street graffiti.

While Epicenter X is intimate in scale, there’s an impressive variety of media and diversity of participants (among the artists include a dentist, an architect, and a Facebook developer). The show comes with a helpful complimentary exhibition catalogue (available online), itself easily worth the $8 price of admission, but to get the most from the experience, perhaps time your visit to correlate with the culinary walking tours the AANM offers of the surrounding markets. Many of us too often treat the pan-Arabic world as a monolith, and in adding even just a bit of nuance and texture to our understanding of Arab culture, this show fosters increasingly-necessary cross-cultural dialogue, and serves its purpose well.

Arab American National Museum

 

 

 

Sandwich Project @ Art Gallery of Windsor

Installation Image, Sandwich Project, image courtesy Cynthia Greig 2017

“The Sandwich Project” at the Art Gallery of Windsor centers around famed American artist Martha Rosler’s 1974 video, “Semiotics of the Kitchen,” a visionary send-up of the entrapment of women in the machinery of the kitchen. It features a very young Rosler parodying more famed cooking show host Julia Childs.

After more than forty years, and our global digital brain transplant, the six-minute B&W video remains mesmerizing both intellectually and as a performance. With deadpan facial and bodily gestures, Rosler punctuates an alphabet of the accouterments of cooking — Apron, Bowl, Chopper, Dish, Egg Beater — objects that traditionally have signified women’s domestic identity, but become as sinister as the crippling machinery of the factory.

As Charlie Chaplin’s Little Tramp had been pushed over-the-edge by the machine of the factory in his 1936 film Modern Times, thus defining the generation of pre-union, factory workers, Rosler’s Julia Childs dramatizes the enslavement of women in the signifying machinery of the kitchen.

Rosler’s video, however, is only a set-up for the rest of the engaging Sandwich Project, which was the brainchild of Windsor’s renowned Iain Baxter&, an early conceptual artist, painter and photographer, and was curated by Art Gallery of Windsor’s Jaclyn Meloche, also an artist, performance artist and writer. Baxter& conceived the Sandwich project as a play on “all things Sandwich,” to quote Katherine Mastin, AGW’s Director,

Sandwich, one of the earliest neighborhoods in Windsor, namesake of England’s once important port, was the origin of the name for the portable lunch, which (after the Fourth Earl of Sandwich) like this exhibition, composes layers of ingredients (often between two slices of bread). The word dredges up all kinds of history both in England and in Windsor, in the underbelly of which lies the War of 1812, a conflict that to some locals seems as though it was between Detroit and Windsor. In fact, Sandwich, Ontario was the site of important 1812 battles.

Iain Baxter&, “Iain Baxter as an open-faced sandwich” 1978

Iain Baxter&, born in England, his own art fraught with visual hi-jinks, was obviously quite cognizant of this back story in conceiving the project, which is ripe with delicious visual puns and ironies.

Likewise it’s the relationship of food to social and political history, popular culture and feminism, that Meloche ran with to create six independent exhibitions, each of which is self-contained, with moments of delightful humor and brilliant art, while at the same time executing an engaging critical perspective on food and culture. A video entitled “Food as Metaphor,” moderated by Meloche, which includes statements and discussion by the artists, punctuates the exhibitions.

Baxter&’s own contribution, entitled “Baxter&Food,” is a collection of more or less still-life photos of nourishment.  “Iain Baxter as an open face sandwich,” c.1978, is typical of his dadaistic play with art history in which he humorously features himself as both the maker and material of art. Equally the dada irony looms huge in “Still Life with Winter Vista,” 1996, which features a glass patio table laden with a cornucopia of tropical fruit and vegetables, with a classic Lake St. Clair winter landscape in the background. Baxter&’s energetic art prompts thinking about big issues like ecology, food and identity, rather than simply art stuff, yet at the same time his work has a subtle aesthetic valence that is hard to categorize. His “The Primaries,” composed of bottles of ketchup, mustard and blue Gatorade that he classifies as “found objects,” is not only a great commentary on our food culture and its ironic spectacality, but a rather wonderful conceptual sculpture.

Iain Baxter&, “The Primaries,” Found Objects, 2017

Of the six exhibits in The Sandwich Project, the one most provocative to the central issue of our food culture is “Food, Feminism and Kitchen Culture.” Introduced by Rosler’s video, the exhibition sets up a discourse on the landscape of the kitchen as an imprisoning construction of which women are the principle inhabitants.

Cynthia Greig, “Representation no. 29 (toaster), chromogenic print, 20 x 24”

If Rosler’s video sees the objects of the kitchen as an almost violent lexicon of possibilities for the construction of women’s identity —Apron/Women, Bowl/Women, Chopper/Women, Dish/Women — Cynthia Greig’s (Detroit’s best kept secret) manipulated photographs become escapes from the reality of the haptic world into a realm of diagrammatic ghosts, from realism to shadows of the real. In reducing photographs of common objects of the kitchen — toaster, milk cartons, coffee cups, French fry carton — to elemental outlines, they become ideas that hold us captive. These graceful, elegant shapes become enigmatic containers that define and thus limit ­— limitations to being, to exuberance, and diagrams that ultimately beckon language to elucidate and emancipate them.

Each of Greig’s diagrammatic images includes a referent to reality. A diagrammed toaster has images of freshly “toasted” bread popping out of it. The outlined milk carton has “spilled milk” next to it. A French fry carton has French “fried potatoes” sticking out of it. Each photograph posits the philosophical dilemma of what contains and what is contained. Pushed to their logical end, these images become a sort of dictatorial grammar of the kitchen.

Anna Frlan, “Kitchen as Factory [Mixing machine, blending machine,toasting machine]”, Steel, 2017

Complementing Greig’s skeletal works are Anna Frlan’s welded steel replicas of kitchen appliances. Actually, as if taking a hint from Greig’s diagrammatic images, Frlan’s are even more cage-like machines — a toaster oven, a blender, a mixer, a stove, a dishwasher. These drawings made of steel, at the same time as they resemble medieval torture devices, might suggest Piranesi’s images of Roman prisons. They are stunning, sinister signifiers of the role of kitchens in defining identity.

Each of the artists in this section of The Sandwich Project makes a stunning contribution to the discourse on Food, Feminism and Kitchen Culture. Marilyn Minter’s painting from her “Food Porn” series and Carly Erber’s crocheted “Salisbury Steak” make wonderfully opposite statements about women and representation of food. Christiane Pflug’s painting “Kitchen Door with Ursula,” 1966, and Annie Pootoogook’s “Tea Drinkers,” 2001, both reflect subtle personal takes on the complex psychology of kitchen life.

Sandy Skoglund, “Body Limits,” 1992

A related, borrowed exhibition, originating at the Akron Art Museum and curated by Theresa Bembnister, “Snack” is a tour de force of a generous selection of diverse representations of food, featuring Pop artists Andy Warhol, James Rosenquist, Claes Oldenburg and other contemporary artists’ takes on the western recreational activity of food and eating. Sandy Skoglund’s “Body Limits” documents a surreal tableau she created parodying a fashion shoot of two figures dressed in bacon.  French photographer Robert Doisneau’s “L’Innocent,” 1949, captures a typical Parisian gentleman’s existential encounter with his dinner in the window of a restaurant.

Robert Doisneau, “L’Innocent,” B& W Photograph, 1949

The Sandwich Project is no less than a blockbuster of an exhibition, a realization that surpasses expectation.  The fourth part, “Lunch,” collects a wonderful assortment of artifacts and images of the great pastime of noonday culture, including a wall full of school kids’ lunch boxes that in themselves are a history of midcentury pop culture, and a selection of early twentieth-century images from The Henry Ford Museum archives of Detroit cafeterias, diners, and hot dog stands.

Frederick Arthur Verner, “Untitled (River Scene, Sunset”), 1891, watercolour over graphite on paper

Two other exhibitions that bookend The Sandwich Project are AGW’s collection of nineteenth-century watercolors of the Sandwich area by artist Frederick Arthur Verner, and “Food and Film,” which features four short films on the production and distribution of food as a go-between in signifying Canadian identity. One of Verner’s watercolors features the Detroit River-front with typically English village-like architecture of early Windsor (Sandwich) in the foreground, replete with fishing boats, and a nascent Detroit industrial landscape on the far shore. During the nineteenth century, the Detroit River was famous for its astonishing fishing, supplying First Nation people and eventually Windsorites and Detroiters with bounteous whitefish and walleye. Verner’s watercolor thus becomes an ironic commentary on the devolution of food production in the area.

The Sandwich Project is a perfect summertime day trip or even two-day trip, and yields an abundance of food-for-thought about the business, culture, and representation of our relationship with food.  For lunch, Sir Cedric’s Fish and Chips is right around the corner from the Art Gallery of Windsor, reminding us of the Canadian predilection for things British. If, however your tastes are more inclined to American fare, there’s Lafayette Coney Island just across the border.

The Sandwich Project Continues through October 1, 2017

 Art Gallery of Windsor,  401 Riverside Drive West, Windsor, Ontario N9A7J1     519-977-0013

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

 

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

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

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

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

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

Wadsworth Jarrell, Three Queens, Acrylic on Canvas, 1971

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

Wadsworth Jarrell, Revolutionary, Acrylic on Canvas 1972

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

Allie McGee, Apartheid, Mixed Media on Masonite, 1984

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

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

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

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

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

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

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

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

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

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

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

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

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

Senghor Reid, Broadcast News, Mixed Media 1971

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

Postscript

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

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

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

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

Detroit Institute of Arts

Charles Wright Museum