Critical art reviews of Detroit galleries and museums weekly

Month: August 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

 

 

 

A Day @ the Rijksmuseum

Rijksmuseum, Amsterdam, Netherlands, 2017 Image courtesy of John Lewis Marshall

You may have been to Amsterdam and visited the Rijksmuseum, but if not, here are some highlights from my visit on the way to Venice, Italy this past summer. I have seen artwork from this museum for many years, usually at the Metropolitan Museum of Art, the Frick Collection in New York City, or at the National Gallery in Washington, D.C. and always as part of a specially curated exhibition. But it’s not until you see all these paintings together, in person, that you fully appreciate the collection of Dutch masters and various acquisitions.

Rijksmuseum, Eregalrij, Image courtesy of Erik Smits

The Rijksmuseum first opened its doors in 1800 as Nationale Kunstgalerij. At the time, it was housed in Huis ten Bosch in The Hague. The collection mainly comprised paintings and historical objects. In 1808, the museum moved to the new capital city of Amsterdam, where it was based in the Royal Palace on Dam Square. After King Willem I’s accession to the throne, the paintings, and national print collection were moved to the Trippenhuis on Kloveniersburgwal, in 1885, while the other objects were returned to The Hague.

The Trippenhuis proved unsuitable as a museum. Work on a new building did not commence until 1876, after many years of debate. The architect, Pierre Cuypers, had drawn up a historic design for the Rijksmuseum, which combined Gothic and Renaissance styles. The design was not generally well received; people considered it too medieval and not Dutch enough. The official opening took place in 1885.

Johannes Vermeer, View of Houses in Delft, Oil on Canvas, 1660

The reputation of Johannes Vermeer (1632-75) rests upon a relatively small number of paintings, all of which represent a remarkable 17th-century Dutch master whose themes depict the events of daily life in the city of Delft, his birthplace and home. In his images, Vermeer conveys values rich in meaning that have fascinated viewers for centuries. In this unusual painting, View of Houses in Delft, we see a remarkable portrait of ordinary houses. The old walls with their bricks, whitewash, and cracks are almost tangible. Vermeer’s aunt lived in the house on the right with her children until her death in 1670.

Johannes Vermeer, The Milkmaid, Oil on Canvas, 1660

What can possibly be so special about a milkmaid pouring milk, entirely absorbed in her work? But this is perhaps one of the strongest works in Vermeer’s oeuvre. Except for the stream of milk, everything else is still. The maid stands like a statue in the brightly lit room, as hundreds of colorful dots play over the surface of his objects. The signature of window light cast from the left side will be used in many paintings, creating the strong three-dimensional quality of his figures.

Johannes Vermeer, Woman in Blue Reading a Letter, Oil on Canvas, 1663

Perhaps in no other painting did Vermeer create such an intricate counterpoint between the structural framework of the setting and the emotional content of the scene as in Woman in Blue Reading a Letter. Vermeer places the woman in the exact center of his composition, her form fully visible between the table and the chair. These structural elements are a kind of geometric framework to restrict any kind of movement, while the overall scene alludes to emotional intensity that causes the viewer to wonder what is the content of that letter. Is she expecting a child?

Rembrandt van Rijn, Night Watch, Oil on Canvas, 1642

Rembrandt van Rijn (1606-69) was a Dutch draughtsman, painter, and printmaker. An innovative and prolific master in three media, he is generally considered one of the greatest visual artists in the history of art and the most important in Dutch art history. Rembrandt’s masterpiece, the Night Watch, is a group portrait of a company of Amsterdam militiamen in the civic guard, painted in 1642 to be located in the guild headquarters. His depiction of the militiamen in action was quite exceptional: until then, the sitters in such group portraits were shown either standing or sitting stiffly next to one another. He used light to emphasize important details, such as the captain’s hand gesture and the girl in the pale dress. The size of this oil on canvas is 142 x 172 inches, and the painting was completed in 1642, at the peak of the Dutch Golden Age.

Rmabrandt van Rijn, Self-Portrait as the Apostle Paul, Oil on Canvas, 1661

Throughout his life, Rembrandt painted many self-portraits. Here is his Self-portrait as the Apostle Paul, 1661, his brow furrowed and eyebrows arched; he peers out with a meaningful view. He has portrayed himself as the Apostle Paul, who was recognized at the time by the attributes of sword and manuscript. Rembrandt renders the light on the turban, forehead and a book, using heavily modeled brushstrokes.

Rembrandt van Rijn, Monk;s Habit, Oil on Canvas, 1660

Rembrandt portrayed his son, Titus, in Monk’s Habit, with downcast eyes, wearing Franciscan monk headwear. The rules of this monastic order prescribed the life of poverty and humility. Reflective is the coarse robe and the introspective gaze on his son’s gaunt face.

Rembrandt van Rijn, The Wardens of the Amsterdam Drapers’ Guild, Oil on Canvas, 1662

The syndics inspected the quality of dyed cloth in Amsterdam. In the work The Syndics, Rembrandt portrayed them looking up from their work, as though disturbed by the viewer’s arrival. This artistic device was a clever way of enlivening the scene and thereby involving the viewer. This late work, 1662, not only attests to his endless creativity, but also to his undiminished popularity among his patrons. It’s the scale of these larger works by Rembrandt that you only experience in person at the museum.

Karel Dujardin, The Regents of the Spinhuis, Oil on Canvas, 1669

Who taught artist Karel Dujardin (1626-1678) is no longer known: it may have been Nicolaes Berchem or Paulus Potter. Besides his Italian landscapes, Dujardin also painted portraits and historical scenes in neo-Classical style—smooth, elegant and colorful—and died at an early age in Venice. Here in The Regents of Spinhuis, a servant bringing a letter interrupts a meeting. The other five men are the regents of the Amsterdam Spinhus, or better known as the female house of correction. The women imprisoned there for theft or begging spent most of their days spinning yarn.

Michel-Martin Drolling, View of the Gardens of Villa Medici, Oil on Paper on Canvas, 1811

Michel-Martin Drolling (1789-1851) began painting under the supervision of his father, the painter Martin Drolling. He later studied with Jacques-Louis David. For The Wrath of Achilles, he won the Prix de Rome in 1810. The following year he went to Rome where he lived in the Villa Medici, which housed the French Academy where many Dutch artists also studied. In this work, View of the Gardens of Villa Medici, 1816, he painted a view of the manor’s grand gardens, with the Villa Borghese in the distance and can still be seen today.

Cesar Boetius van Everdingen, Girl in a Large Hat, Oil on Canvas, 1645

Cesar van Everdingen (1616-78)   was born in Alkmaar and educated in Utrecht, where he learned to paint from Jan Gerritsz van Bronckhorst. Cesar became a member of the painter’s guild in Alkmaar in 1632. He joined the Haarlem Guild of St. Luke and the civic guard, where he met Jacob van Campen. In this work by Everdingen, Girl in a Large Hat, we see a young woman with her exotic, broad-brimmed sun hat and suggestively exposed shoulder offer the viewer her basket with fruit. Many of van Everdingen’s works are seen in the museums and private houses of the Netherlands, with several on display at the Stedelijk Museum Alkmaar.

Francisco de Goya, Portrait of Don Ramon, Oil on Canvas, 1823

The tempestuous works of Francisco de Goya (1746-1821) distinguish him as the most important Spanish painter of his time. Having survived an unknown illness that left him deaf and witnessed the atrocities committed during Napoleon’s occupation, which are hauntingly portrayed in the mass execution of Spanish civilians in The Third of May 1808, Goya went on to create some of his most somber, chilling images with his late “Black Paintings,” which were painted directly onto the walls of his home. Goya influenced numerous artists, including Pablo Picasso in the creation of his masterpiece Guernica.

Image of the renovation Rembrandt’s “Night Watch” , right, at the Rijksmuseum in Amsterdam, April 13, 2013, Image courtesy Iwan Baan

The most recent renovation at the Rijksmuseum was completed in April, 2013, which reinstated the original Cuypers structure. The building works in the courtyards were removed. Paintings, applied art and history are no longer displayed in separate parts of the building, but form a single chronological circuit that tells the story of Dutch art and history. The building was thoroughly modernized, while at the same time restoring more of the original interior designs.

Maybe it’s obvious, but for artists working today, looking at art from earlier decades or centuries can provide insight into the basic aesthetics that never change. I would compare it to music or literature, in that when you hear a Chopin Sonata or see a play by Shakespeare there is something that can resonate with all people and make a difference within our human condition, regardless of time and place. The exposure to this experience can enrich our quality of life and motivate us to contribute to the creative endeavor.

The Detroit Institute of Arts collection is among the top six in the United States, with about 66,000 works. Among notable acquisitions are Mexican artist Diego Rivera’s Detroit Industry fresco cycle, which Rivera considered his most successful work, and Vincent van Gogh’s Self-Portrait, the first Van Gogh painting to enter a U.S. museum collection. My visit to the Rijksmuseum in Amsterdam was just an extension to my many visits to our own DIA. They have a new web site, if you haven’t noticed, https://www.dia.org

 

Rijksmuseum in Amsterdam, Netherlands 2017

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

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