NAIAS @ Cobo Hall, Detroit, Michigan, USA

Floor View of NAIAS

So last year, I wandered out onto the farthest fringe of the fine art community and made a decision to write about the 2017 North American International Auto Show (NAIAS). At the time I declared it to be an exhibition in the Detroit metro area worthy of our time and effort. Now, the new 2018 review comes on the heels of writing a review of Monet: Framing Life, an exhibition now at the Detroit Institute of Arts.

In my 2017 Auto Show review, I gave recognition to the Eyes on Design competition and to the College for Creative Studies for their exemplary Transportation Design Program. In addition, I acknowledged all the fine artists who worked in the automotive design process by day, and do their own personal and private fine art work in their home studios on weekends and by night. I did this review based on attending the 2017 public viewing of the auto show, packed with a widely diverse audience of families and individuals from all walks of life. When the review was published, I did get positive feedback from NAIAS officials as they recommended that in 2018, I should apply for a press credential. For the 2017 Detroit Art Review, I went about my business and selected a luxury production car, the 2017 Lincoln Continental, as having the highest level of overall aesthetic appeal, followed up by my reasons for the selection and why.

There were critics, of course, both writers and artists who thought I had lost my mind by comparing the design elements of a car to the exhibition of paintings by Van Gogh or Edward Hopper, but many more could easily see the connection between the artisans who work in the automobile design departments and their personal artistic talent, of which many men and women exhibit in galleries, museums, and fine art competitions right here in Detroit.

But that was last year. In December of 2017, I contemplated a new review of 2018 NAIAS. Should I do another?  I began by applying for a press credential and was rejected and then rejected again on appeal. Then I approached the Chairman of the CCS Transportation Design program by email and asked for his input. He said he supported the idea whole-heartedly, but soon his emails stopped and he could not be reached. After the rejection by NAIAS for press access, they suggested that I should simply attend one of the Industry Preview Days. I did that and paid dearly for the, um, privilege. $110 for the ticket, $15 for parking and $4 to hang up my coat, all in a good effort to provide publicity and good will to the auto industry. (I am happy to report that using the men’s room is still free.)

Audi V-10 R8 Coupe convertible

The first thing I bumped into on the showroom floor was the new Audi R8 V-10 sports coupe powered by a 10-cylinder gas guzzling engine with a 14mpg (they may have fudged on the mileage). Considering the price tag of $175,000, that seemed like enough money and cylinders for four cars.

I moseyed up to a high platform where the view consisted of thousands of white men, aged 30-60 years old, in dull slacks, dress shirts, short hair, and glasses. Many were clustered in groups and held an itemized pad for notes and iPhones for taking pictures.

Several times I asked those working the show what was meant by Industry Preview Day. Their responses varied greatly. “Mostly engineers…looking at the competition,” or “VIPs from headquarters” or “today is for the auto designers and their teams,” or “it’s mostly a perk for suppliers or dealers.” My guess is they all were provided with a free ticket.

Bluntly, it was a sea of Caucasian men as far as I could see. I did see an African American security guard in a red coat, and an African American cleaning lady, in that same red coat. To be fair, there might have been one or two women there, probably VIP spouses, and a few Asian engineers. Notable were several undercover police officers with sniffer dogs, and at each entrance, African American security guards (in their red coats) doing body scans with an electronic wand. Well, good. I felt safe, but there was a new experience ahead.

As you might recall or imagine, the Cobo exhibition hall is a large, circular space filled, in this case, with very expensive sets are individually designed and assigned to each automobile manufacturer. What I didn’t expect to see was a section devoted to automotive suppliers. I guess that means more revenue for NAIAS and Cobo Hall.

The first supplier exhibit I came across was Aramco Transport Technologies, which provides technology that improves mileage, emissions, and efficiency. I asked a representative where their headquarters were, and they said, Novi, Michigan. Apparently, they are also located in other parts of the world, like Paris, France. When pressed, they said they were a division of Saudi Aramco in Dhahran, Saudi Arabia, the state-owned oil company that is the world’s top exporter of oil and natural gas.

To be fair, Aramco has developed a Mobile Carbon Capture technology that captures the Co2 before it leaves the car, which is then stored and unloaded for reuse. Although there were electric cars, like Volkswagen’s concept car, in most of the displays, but I did not see a supplier of passive energy sources for automotive use.

There was Denso North America, leaders in corrosion prevention and sealant technology, headquartered in Kariya, Japan. There was a large display by Aisin Group that specialized in powertrain components, also head quartered in Japan, but I asked myself; who is coming to NAIAS to look into the technical parts of a car or cross-sections of a transmission? Are they lobbyists? I would be remiss if I did not mention the Michelin Tire Display, fudge from Kyba’s Mackinaw Island and the candied almond vendor.

2018 Lincoln Continental

But back to my mission to find a car that has the highest level of overall aesthetic appeal, which leads me to another revelation: The design of production cars changes very slowly, as this year’s models demonstrated. I was drawn back inexorably to the Lincoln Continental. The understatement of line, shape, and proportion still provides the viewer with a feeling of strength and security. The lines curve down and inward, an aesthetic sometimes seen in European sports cars. The repetition of roundness is soothing. Stylish elements abound, like the way the E-latch door handles provide a graceful inset in the side door, and five LED lamps create a slender design to what used to be a larger headlamp.

2018 Lincoln Continental Grill Detail

The front grill is refined, delicate and proportionate to the front profile, while the small openings in the grill repeat a similar shape of the car logo. A sleek console serves to open up the cabin, while the sophisticated push-button gearshift integrates seamlessly with classic knobs and buttons. The leather-wrapped, hand-stitched steering wheel is mounted ahead of a 12.3-inch fully configurable digital instrument cluster that displays easy-to-read driver information clearly. Sitting in the car, looking closely at its design elements, I was left with what I experienced last year, which is that the Lincoln Motor Company, the luxury automotive brand of Ford Motor Company, is committed to creating an exquisitely designed vehicle that places itself above their competitors.

2018 Lincoln Continental fron interior


Everything I experienced with the cars themselves remains the same, particularly when it came to recognizing the designers who work hard at deserving their much-earned success around the world. As I mentioned, NAIAS has its own Eyes on Design program, and this year they gave the KIA Stinger their choice for Best Production Car award. (South Korea is hosting this years Winter Olympics) If you’re curious, the awards are decided on by four chief judges, and thirty-two regular judges who must work together on a process that I cannot imagine, but it is their official program, highly honored and celebrated. Congratulations! But as for my experience with NAIAS 2018 Industry Preview Day, it was enlightening and disappointing. The cars were sleek and shiny, the crowd was bland, and the diversity of people packed into Cobo Hall on this day…was racially offensive.

NAIAS 2018 @ Cobo Hall, Detroit





NAIAS 2017 @ Cobo Hall, Detroit

2017 Charity Preview

2017 North American International Auto Show (NAIAS) Charity Preview Event

What is now known as the North American International Auto Show (NAIAS) began as an event in 1899. The first official Detroit Auto Show was held in 1907 at Beller’s Beer Garden in Riverview Park, where a total of 33 new motor vehicles were shown by 17 vendors, and spectator admission was 50 cents.

So, you wonder, why are you reading about a car exhibition in the Detroit Art Review? We’ll answer that question with a question: How many people who are responsible for the creation of an automobile attended art school? Plenty, as it turns out.

Every week, we at the Detroit Art Review explore the work of artists in galleries and museums in the Detroit Metro Area, but we’ve never tipped our hats to the men and women who contribute to the aesthetics of an automobile. Because we are doing our work here in Detroit, the home of the automobile and most of the automotive industry, it seems fitting to mention an annual event that contributes $500 million to our local economy. More than 800,000 attendees last year and press from all around the world gathered to see the new cars produced that provide a basic staple of American culture: Individualized Transportation. NAIAS has displayed the wares of the automotive industry, a million square feet of it, at Cobo Hall since 1967.

Not to take away from the prestige of the event over all, but the design work that goes into an automobile is recognized by EyesOn Design Awards, which are the sine qua non design awards in the industry, sponsored by the Henry Ford Health System, Department of Ophthalmology. As proof of design excellence, consider a production car that rises to the top in terms of aesthetic appeal: the 2017 Lincoln Continental.


Ford Motor Company, Lincoln Continental, 2017

The understatement of line, shape and proportion provides the viewer with a feeling of strength and security. It is not a pointed, aggressive look, but a mature profile in its approach to visual stability. The lines curve down and inward, an aesthetic seen sometimes in European sports cars. The repetition of roundness is soothing. Stylish elements abound, like the way the E-latch door handles provide a graceful inset in the side door, and five LED lamps create a slender design to what used to be a larger headlamp. The front grill is refined, delicate and proportionate to the front profile, unlike the majority of cars these days that feature a sweeping, forward design with pointed grills, like the V-Motion Nissan sports look, something you might see on a Star Trek movie set, or the Lexus grill that reaches down so low to the street it seems designed to collect debris.

Ford Motor Company, Lincoln Continental, 2017

Growing up and now working in Detroit, I was always acutely aware of the design and engineering sensibility in the metro area that dominated our psyche. For instance, the Sunday New York Times relegates automobile coverage to the business section, while there are two sections devoted entirely to the Arts. In Detroit, there has always been an Auto section in the Sunday Detroit newspapers and no Arts section. Yet the people of Detroit and the tri-county area supported a millage to keep the Detroit Institute of Arts (DIA) intact. They knew intrinsically that the fine arts were important to our quality of life, and voters made a substantial ten-year commitment to help support the DIA in a time when bankruptcy threatens our city. The Center for Creative Studies has developed an extraordinary Transportation Design program that works closely with the automotive industry to help prepare young designers to meet the technological needs of a changing work force. I know clay sculptors who form the full-scale prototypes at the General Motors Technology Center, and they often exhibit their hand thrown pottery at local art exhibitions.

So at the beginning of each year, the North American International Auto Show displays the new products of an American industry in which artistic design elements, both interior, and exterior, play a vital role. I, for one, am proud to be from Detroit and active in its art community, which includes all the men and women who work to design beautiful products. For those who attend the show or see the Lincoln Continental on the road, take a close look at the design elements and how they personify the rich aesthetics of a luxury car, and remember the Continental was made by artists and engineers here in Detroit.





Charles McGee @ Charles H. Wright Museum


CHW long

Charles McGee unveiling of United We Stand sculpture -Farnsworth Entrance to the Charles H. Wright Museum

Charles McGee, the first Kresge Eminent art artist in 2008, and one of Detroit’s most well-known artists was present July 23, 2016, at the Charles H. Wright Museum for the unveiling of his massive sculpture, “United We Stand”. The new sculpture displays seven abstract figures in black and white motifs that one cannot help observing the symbolism in its meaning: one people together.

United We Stand

Charles McGee, United We Stand, Poly-chrome steel, high-gloss enamel paint, concrete base

Funded by the Chicago-based Joyce Foundation, the award of $50,000 was used to create the sculpture that is prominently located just west of the museum’s Farnsworth entrance. The sculpture will serve as a capstone to a long and prestigious career by the Detroit artist, Charles McGee. McGee’s paintings, assemblages, and sculptures are part of many distinguished collections. One of my favorites is “Noah’s Ark” at the Detroit Institute of Arts in the Prentis Court. The enamel and mixed media piece measures fifteen feet long and ten feet high and combines two female figures with animal forms and colorful bands of color.

08 Mcgee_Noah's Ark Genesis

Charles McGee, Noah’s Ark Genesis, Collection of the Detroit Institute of Arts

Charles McGee, now 91 years of age, migrated to Detroit from South Carolina at the age of 10, and attended the College of Creative Studies (then called the Society of Arts and Crafts). He taught art for 18 years at Eastern Michigan University, before retiring in 1987. He also taught at the University of Michigan and received an honorary doctorate from the College for Creative Studies. “The creative mind, “ McGee has written, “continues to test the parameters of conventional knowledge, forever in pursuit of new vistas.”

01 McGee_portrait by Ray Manning

Portrait of Charles McGee by Ray Manning

“United We Stand” is to kick off the upcoming year of exhibitions and activities to commemorate the 50th Anniversary of the 1967 summer of the Detroit Riots.

The Charles H. Wright Museum

Lois Teicher @ Robert Kidd Gallery

Cosmic Journey 3 & 1_web

Lois Teicher, Cosmic Journey #3 (Red) welded aluminum with acrylic 35 x 23-1/2 x 6-3/4 inches Cosmic Journey #1 (Black) welded aluminum with enamel 37 x 23 x 9 inches

The Robert Kidd Gallery, in Birmingham, Michigan opened an exhibition of sculpture by the artist Lois Teicher on May 21, 2016. These hand-welded shapes of metal with spray painted surfaces rely heavily on her use of space and form. Working in a minimalist tradition, Teicher brings a high level of technical accomplishment to these abstract works. These sometimes folded pieces of colorful metal are hard-fought ideas that use pure geometric forms that give the viewer a certain type of comfort that is easy on the eyes. It brings to mind a piece of Teicher’s work outside in a lush organic and natural setting where there is an extreme contrast presented.



Lois Teicher, Fragment – welded aluminum with enamel 43 x 43 x 22 inches

The conceptual idea presented in Teicher’s work reminds this writer of work by Robert Mangold and Ellsworth Kelly. Searching for the roots of the minimalist tradition in a broad sense, these geometric abstractions are easily associated with the Bauhaus School in the work of Yves Klein, Piet Mondrian, and Joseph Albers. Some might suggests the movement was a reaction to abstract expressionism, but I would argue it is more of an inner-sensibility that drives this work; that there is an internal intellectual idea that says these forms are part of what creates the space/time continuum in the universe.



Lois Teicher, Curved Form with Triangle and Space III – welded aluminum with acrylic and enamel 36 x 23 x 18 inches

It’s taken this writer a trip to Donald Judd’s Marfa, Texas, and Dia: Beacon up the Hudson River from New York City, to contemplate and digest minimalist concepts. The recent passing of artist Ellsworth Kelly in December 2015 bring to mind a kindred spirit with Ms. Teicher, who completed her graduate work in 1981. She says in her statement, “My studio work is generally constructed of hand-welded metal that I personally fabricate. The process of expressing ideas mostly germinates from a solitary inner experience the flows outward and takes the form of visual expression.”


Eclipse Series VI_side_web

Lois Teicher, Eclipse Series VI – welded aluminum with acrylic 52 x 52 x 14 inches

















The work on the floor and the wall sings a similar minimalist note, but Ms. Teicher takes her own step when she makes the form fold. What needs to be said is the role scale plays in this work. Some of the work in this exhibition seems like scale models for larger work that would be placed in public spaces. Given the space afforded by galleries, it’s these models that often stand alone as works of art in search of a public space. There is a natural balance in Teicher’s pieces with a Zen-like simplicity that informs each piece of work with a high caliber of visual experience.

Continuum, May 21 – June 18, 2016  Robert Kidd Gallery, Birmingham, MI


Indigenous Beauty & Invisible Conflict @ the Toledo Museum of Art


Charles & Valerie Diker (left) – TMA Director Brian P. Kennedy All Images Courtesy of Sarah Rose Sharp

This month, the Toledo Museum of Art opened the fourth and final installation on the tour of Indigenous Beauty: Masterworks of American Indian Art from the Diker Collection. The show features a breathtaking array of cultural artifacts and several contemporary works of Native American art, collecting material culture from tribes that spanned the North American continent. Charles and Valerie Diker, who were approached by the American Federation of the Arts to create this exhibition, were on hand for the opening and to present a Master Series Lecture at TMA on Thursday, February 11. Their relationship with fine art collecting began with modern art, and having been drawn to Taos, New Mexico, they found similar points of resonance in Native arts. They describe their interest as aesthetic-driven, choosing to seek out and present survey of the most virtuosic examples of work by members of many different tribes and regions, rather than specializing in a particular area.


Some of the highly decorated garments in the Plateau & Plains region.

And virtuosic, they are. The Dikers concern themselves only with masterworks in their collection, and each piece represents skill, generational knowledge, and many hours of labor-intensive handwork. The exhibit is clustered by territory, giving one a sense of regional areas of expertise—pottery and Katsina figurines from the Southwest, wooden masks and tusk-carvings from the Western Arctic, basket-making in the Great Basin and California area. In the plateau and plains region, there is a great deal of detailed clothing, and tucked in the furthest reach of the exhibition, some breathtaking renderings of battle memories—the Great Plains area being the place where the West was truly won, or lost, depending on your perspective.


A decorated deerskin hide from the Plateau & Plains region.

That perspective is perhaps somewhat lacking, when it comes to this presentation. While the Dikers’ attraction to beautiful objects and their 40-year efforts to amass them is quite understandable, the show’s focus on beauty seems vaguely tone-deaf in light of the brutal history and continuing struggle for recognition associated with the early citizens of America—a process rooted in a similar kind of acquisition-based approach to native property. While the Dikers acknowledge this art as representative of “the first Americans,” and state that the intention of sharing their collection is to educate, there is also a sense that the concept of indigenous Americans as fully actualized and deeply expressive people (rather than cowboy-versus-Indian caricatures) is something of a revelation, in and of itself.


Guest Curator David Penney offers opening remarks at the media preview for Indigenous Beauty

Or, as stated by guest curator David Penney—one of the country’s leading scholarly thinkers and art historians in the field in American Indian art, and Associate Director of Museum Scholarship at National Museum of the American Indian in Washington, D.C.—in a brief one-on-one interview during TMA’s media preview, “American Indian culture is often thought of as something long ago, far away—an almost fairyland American Indian. It’s big in American imagination. In a sense, Americans invented American Indians that never existed. And so, those are the kinds of images that casual visitors to museums—through no fault of their own—bring to exhibitions like this. So I think it’s important to try to reconnect them to American history and [challenge] this idea that American Indian culture vanished or disappeared. That was a prediction made in the 19th century, and it’s still not true. It never was true.”

Perhaps this need to educate at the baseline is real. It is certainly worth acknowledging that there is a prevailing and biased narrative around American history, and the questioning of that narrative is an absolutely necessary precursor to change. Despite a dawning cultural awareness that holidays like Columbus Day go beyond exceedingly poor taste, there are plenty of people who guilelessly celebrate Thanksgiving as a building block of our nation (or are just happy for a day off work). Perhaps it would indeed surprise these people to consider that the skill, soul, and care invested in these cultural artifacts are a reflection of the thriving culture that very much plays a part in the shape of modern-day America. Certainly in a place like Toledo, Ohio, there is a preponderance of artists and craftspeople who can relate to the exquisite handwork of carving, beading, vessel-building, garment-making, and weaving that elevates these objects. As Charles Diker said, in his opening remarks, “There was no word for “art” among these (native) languages, it permeated every aspect of life.”


Southwestern pottery and Katsina dolls

In the same way that art and daily living were intertwined within the cultures that produced these artifacts, it is difficult for me to contemplate their beauty without also feeling a resounding sense of loss—for the people that were killed, relocated, and stripped of their heritage; for the artistic voices that were silenced or lost in the shuffle; and for contemporary society, being shaped by the inability of the colonists to envision an America that embraced and incorporated their predecessors. I can find no fault with the objects on display, and the question of their inclusion in the art canon is inarguable. If the garments standing empty on wire frames seem to imply a kind of absence, perhaps that is all for the better. Art and beauty can be, as is so often the case, the jumping off point for more a serious process of reconciling the pain in which all of us, as Americans, are complicit.

Toledo Museum of Art  –

Indigenous Beauty: Masterworks of American Indian Art from the Diker Collection  –    February 12 – May 8, 2016