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    

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

Carlos Diaz @ David Klein Gallery

CARLOS DIAZ, ROUGE SERIES: CLAM SHELL BUCKET – 2012-14 C PRINT 21 X 30″

The David Klein Gallery in Detroit opened a retrospective exhibition of work by the photographer Carlos Diaz, May 13, 2017.   Spaces & Spectacle covers four themes of work dating back to the early 1980’s. Diaz, a Professor of Photography at Center for Creative Studies, has taught and influenced several generations of students in the art of photography over the course of 35 years.

It has been at least a couple of generations since photographers were loading 35mm film into their single lens reflex cameras on a daily basis, providing themselves with the means to record images. The commercial photographers were using mid-range Hasselblad, Cannon, and Nikon that recorded on 2.25 x 2.25 rolls of film, a format that provided the resolution for high-quality print work. All of this changed in the mid-1990’s when digital photography came of age, founded in part by the NASA space program. Diaz had been using film to capture his fine art images, sometimes referred to today as analog versus the digital world of solid-state CCD image sensor chips. In this exhibition, we see a variety of formats Diaz has used to capture and print his fine art photography.

Christine Schefman, Gallery Director says, “The photographs and collages reflect Diaz’s continued interest in the American Industrial Revolution, which gave birth to the working class, and the American amusement industry which was born out of the Revolution.”

CARLOS DIAZ, INVENTED LANDSCAPES OF CONEY ISLAND – 2006 COLLAGE: GELATIN SILVER PRINT & VINTAGE STEEL PLATE WITH WOOD BLOCK ENGRAVINGS 11 X 14″

The collage series Invented Landscapes of Diaz’s work perhaps draws on experience doing mechanical drawing before he started his formal art studies. He went on to complete his BFA from Center for Creative Studies in Detroit and an MFA from the University of Michigan School of Art. The photographic collages are images of the industrial based Coney Island amusement park that became a backdrop for hand-cut images from old patent manuals, allowing Diaz to create what he has described in his statement, “The Invented Landscapes images and the Coney Island environment provides a space to merge both metaphorically and literally, the machines of the industrial revolution and the amusement park landscape. They are the fusion of the functional forms of labor and the fun of the fantasy of the carnival.” The change in tonality allows the viewer to see the added elements.

CARLOS DIAZ, WADE CARNIVAL SHOWS: OCTOPUS RIDE ATTENDANT – 1980-83 ARCHIVAL INKJET PRINT 36 X 36″

In these early 2 x 2 mid-range photographs, created in 1980 while Diaz was still in Ann Arbor, he selects and poses carnival ride attendants for a straight-forward full-bodied portrait. It is back then that it becomes evident that Carlos Diaz has a psychological preference for formal balance in many of his compositions. In the work, Octopus Ride Attendant, Diaz spends the time to center the figure and create an equal amount of space in all directions, either in the compositional set-up or in the printing (described as an archival inkjet print, meaning the negative was scanned and printed using an inkjet printer.) This element does not appear in the Invented Landscape work but dominates most of his other work. To illustrate, when you visit his web site, his image and the text are all centered on the page. I recommend visiting the web site where you can view his entire body of work. He says, “In one form or fashion, photography for me has always provided an opportunity to attempt to understand other people and their circumstances.”

Mary’s Garden, Beyond Borders, 2010, C print. 23 x 30 inches

There is one photograph in the exhibition, Mary’s Garden that comes from his Beyond Borders series where he documents the front yards of many homes in Southwest Detroit. This photograph is another good example of creating this approach to a formal sense of balance and sensibility. The balance comes from this vertical chimney centered in the composition and an even amount of design weight to the large home on the right and the Madonna flower arrangement on the left, not to mention the nice halo of foliage around the parked truck, where a formality of color balance comes into play as well.

CARLOS DIAZ ROUGE SERIES: TORPEDO CAR – 2012-14 C PRINT 21 X 30″

These photographs from the Rouge Series look like full-frame color prints from 35mm film and printed as a C-Print. The term C-print stands for Chromogenic color prints. These are full-color photographic prints made using traditional chemicals and processes. It seems natural that Carlos Diaz would be interested in the Ford Rouge Complex, in that he grew up in Pontiac, Michigan and had a close relationship with the auto industry. Many of his family members work for the auto companies, and Diaz recalls his experience when he first saw the Diego Rivera murals at the Detroit Institute of Arts. He says, “When I saw the Diego Rivera Murals, my view of the automotive worker’s role and the understanding of the realities of automotive production shifted as I began to see modernists painters like Charles Sheeler, who depicted the Rouge and industry as a means that would save mankind.” Here, in the work Torpedo Car, Diaz centers his image, providing more evidence of this preference to address the concept of formality in composition.

CARLOS DIAZ, CARNIVAL MIDWAY: HORSE RACE MURAL – 2008 ARCHIVAL INKJET PRINT 24 X 30″

Carlos Diaz remains interested in the life surrounding carnivals, not just the people, but also the structures, the culture and perhaps the nostalgia. In the 2008 print Horse Race Mural, part of the American Carnival Midway series, the work is formally composed and celebrates the photographic image center stage. We see how the umbrellas enter into the composition, almost identical on each side; More like Ansel Adams, than Henri Cartier-Bresson.

David Klein Gallery until June 10, 2017