Author: Michael Hodges Page 6 of 8

LGBTQ @ Scarab Club

On June 20, 2022

“Mighty Real / Queer Detroit: Remembrance of Things Present” will be up at Detroit’s Scarab Club through July 9. The other 16 exhibition spaces will take the show down on June 30, 2022.

An installation view of “Mighty Real / Queer Detroit” at the Scarab Club, up through July 9.

“Mighty Real / Queer Detroit: Remembrance of Things Present,” the monumental art exhibition of LGBTQ art that sprawls over 17 venues, underlines just how much has changed in America in the new millennium. Even 10 years ago, this sort of mammoth undertaking devoted to queer artists and their allies would be hard to imagine outside of a few trend-setting cities, mostly on the coasts.

Boasting more than 700 pieces by 150 artists both established and emerging, as well as some who’ve passed on, MRQD is being mounted in partnership with the City of Detroit’s Office of Art, Culture, and Entrepreneurship.

The shows at participating galleries are up through the end of June.

Apparently sparked by a suggestion from Detroit artist and longtime gay activist Charles Alexander, the project was curated and muscled into glorious existence by Patrick Burton, a visual and performance artist who teaches in the Detroit schools. The exhibition was originally set for 2020, and at the time involved just four or five galleries. But two years of covid delays gave Burton time to extend his reach, pulling in other outlets all over town.

“Patrick did just a beautiful job putting together portfolios of work for all the different spaces,” said Treena Flannery-Erickson, gallery director at the Scarab Club. “It’s historic and amazing.”

Among the participating galleries are Hatch Art in Hamtramck, Detroit Artists Market, the David Klein Gallery and, out in Mt. Clemens, the Anton Art Center – said to have one of the liveliest displays.

“This project is presenting queer artists, or humanizing us, in a new way,” Burton told The Detroit News. “We’re not often represented. We’re often sexualized and we’re not thought of us as full beings who live life and create art. This is about offering a queer culture and expanding minds and hearts.”

Stephanie Crawford, Green Still Life 3, Watercolor on paper, 22” x 15,” 2018. Courtesy The Scarab Club.

At Detroit’s Scarab Club, the 32 artists on view represent a wide and intriguing range of work, which will stay up longer than at other venues — through July 9. Some pieces here are thematically tied to the queer experience, like the late Jack O. Summers’ collage of itsy-bitsy naked men, while other canvases, such as the technicolor trio of still-lifes by Stephanie Crawford, a Black native Detroiter in her 80s, eschew messaging in favor of simple, striking beauty.

By contrast, the 1999 “Blue Bathroom Blues 1” by Frederick Weston, raised in Detroit before moving to New York, clearly points to the AIDS catastrophe. Look closely at this gorgeous, geometric collage in shades of blue and aqua and you’ll find a reference to the protease inhibitor Crixivan, an anti-HIV drug right beneath an advertising slogan, “Safe for Septic Systems.”

Frederick Weston, Blue Bathroom Blues 1 (detail), Mixed media collage, 11” x 8.5”, 1999. The Scarab Club.

Corktown resident Jon Strand, a meticulous painter with work in the Detroit Institute of Arts’ collection, calls the exhibition a seismic event for the local queer community and its visibility. “This is like a declaration that we’re real and we make beautiful art,” he said. “We weren’t trying to promote or indoctrinate. It’s just about great creativity coming from all kinds of sources.”

One of those sources is Strand himself, who has work in this particular show at both Collected Detroit and Detroit Artists Market. The latter includes “The Flaming Pearl of Infinite Wisdom, A Silvery Moon, and Seven Hidden Dragons,” which typifies the artist’s fascination with oddly whimsical, otherworldly canvases created by means of a back-breaking form of pointillism.

Jon Strand, The Flaming Pearl of Infinite Wisdom, A Silvery Moon, and Seven Hidden Dragons, Ink on canvas, 2019. Courtesy of the artist.

Much of the work throughout MRQD is recent, but Burton also reached back far for some particularly arresting visuals as far away as New York City. Among the most striking, for reasons that are a little hard to decipher, is Marcus Leatherdale’s black-and-white portrait of Sam Wagstaff from 1981, 10 years after he left his curatorial position at the DIA in some disgrace. (For a contemporary art project, Wagstaff in his last year at the museum drove a bulldozer across the museum’s pristine north lawn dragging a 35-ton monolith, “Dragged Mass Displacement” by Michael Heiser, that gouged its own trench and sent the DIA’s board of directors into conniptions.)

Marcus Leatherdale, Sam Wagstaff, Archival pigment print, 22” x 22”, 1981. The Scarab Club.

Leatherdale, a photographer of New York’s demimonde who died in May, gives us a sharply observed portrait of the curator and photography collector at 60, with chiseled good looks and a skeptical gaze some eight years before his lover, Robert Mapplethorp, would die of AIDS.

Another striking image from the now-distant past is Detroiter Katy Hait’s “Marc Mannino, Detroit,” with the tousle-haired artist holding up what look like two punk marionettes. The juxtaposition of the puppets’ menace and Mannino’s youthful gaze, apprehensive but as yet unbruised by life, is a knockout.

Katy Hait, Marc Mannino, Detroit, Archival pigment print, 19” x 13”, 1977. The Scarab Club.

Other participating venues hosting “Mighty Real / Queer Detroit” include Affirmations, Cass Café, the College for Creative Studies Center Galleries, Galerie Camille, M Contemporary Art, the Metropolitan Museum of Design Detroit, N’Namdi Center for Contemporary Art, Norwest Gallery, Oloman Café & Gallery, Playground Detroit and Public Pool.

In breadth, scope and daring, MRQD will be remembered as a landmark in Detroit’s artistic and gay history. In Flannery-Erickson’s words, “It was a monumental undertaking that involved so many people. At the end of the day, it’s a beautiful salute to community.”

Like all curators, Burton hopes for lasting impact. “It’s a community defining ourselves,” he said. “When you think about, it was just over 50 years ago that there was the Stonewall uprising (in Manhattan). I just think there’s a lot of work still to be done. This exhibition is a beginning here, and we wanted to do it big and we wanted to make sure it got the right attention. The only way to do that was to not just do one gallery.”

“Mighty Real / Queer Detroit: Remembrance of Things Present” will be up at Detroit’s Scarab Club through July 9. The other 16 exhibition spaces will take the show down on June 30.

44 – Portraits of a President @ Charles H. Wright Museum of African American History

By Michael Hodges

On June 5, 2022

In Installation, Sculpture

An installation view of 44 – Portraits of a President at the Charles H. Wright Museum of African American History.

In a moment that feels fraught with political peril, the Charles H. Wright has resurrected its show of creatively painted busts of President Barack Obama, first mounted in 2012 and at the time titled Visions of Our 44^thPresident.

The current show is called 44 – Portraits of a President and includes a few new Detroit artists not in the original. The exhibition, staged in two galleries on the museum’s lower floor, will be up through Dec. 31, 2022.

All of which raises the question: why resurrect an exhibition after 10 years?

The reason, said Patrina Chatman, the Wright’s director of collections and exhibitions, has everything to do with efforts by some in this country to rewrite the nation’s racial history, downplaying aspects like slavery they find uncomfortable or distasteful.

This deeply offends the historian in Chatman. “You don’t just change the historical record because you don’t want to tell the stories” she said, arguing that those engaging in this sort of revisionism don’t want people to know how dreadful things really were at one time.

“We’re a history museum,” Chatman added. “We have to make sure these stories are told, and told in different ways.”

The premise for “44,” both 2012 and 2022, is simple: Take replicas of the same bust of President Obama, created for the original exhibition by Santa Fe artist Matthew Gonzales, and encourage artists to have at them. The result is a kaleidoscopic parade of Obama likenesses, dressed up in all the colors of the rainbow, and ranging from literal representations to the very abstract.

All Parties by Detroit artist Tyree Guyton.

One of the most interesting is Detroit artist Tyree Guyton’s high-concept contribution, “All Parties.” The Heidelberg Project founder has given us a blandly painted president with light-coffee skin, gray hair, and a pink suit jacket with an orange, striped tie. In front of him is a table stacked with old-fashioned teacups and spoons, an allusion to the Tea Party that rose up in 2009 to bedevil President Obama and his Affordable Care Act as it made its tortuous way through Congress.

In his artist’s statement, Guyton defined Americans — in particular, apparently, Tea Party conservatives — as a “people in a flummoxed situation of refusing to change with the times.”

Appropriating Obama’s image for artistic purposes, of course, was well established even before the 2012 Wright exhibition. The most-famous example is surely Shepard Fairey’s “Hope” poster, based on an Associated Press photo and one of the most-totemic images from 2008. On the other side of the aisle, artist Jon McNaughton produced a series of highly critical paintings of the president that variously portray him fiddling while Washington burns, or stepping all over the U.S. Constitution. (Fox News’ Sean Hannity reportedly owns one of McNaughton’s canvases.)

Perhaps “44’s” most-daring treatment comes from Tatyana Fazlalizadeh, a Brooklyn artist with an African-American mother and an Iranian father (hence the unusual last name). With “Is He Black Enough?” she tackles the question by painting the top half of the president’s face a deep, rich ebony, while the bottom half looks a lot like a white guy with a good tan.

In so doing, Fazlalizadeh touches on the twin complaints that pursued our first African-American president: For many white people, he was unquestionably “too Black,” at the same time that some members of the African-American community charged he wasn’t Black enough. In her artist’s statement, Fazlalizadeh suggested the question highlights “the potency of the color black.”

My Time to Shine by Nina Chanel Abney.

Also going out on a limb symbolically is New Yorker Nina Chanel Abney with her bust. Somewhat shockingly, “My Time to Shine” represents the 44^th president as a clown with yellow hair, circular red cheeks, and a garish outfit. Her aim, Abney said on the accompanying label, was to underline how “the ruler of any country must put on many faces to appeal to the masses,” very much as a clown does in a circus.

It’s a plight that seems to stir some sympathy in the artist. Acknowledging the intense, often hostile, scrutiny any president faces – and Obama was certainly no exception (nor Trump) — Abney said she wanted to explore “the idea of concealment for self-preservation,” an intriguing insight into the psychological drawbacks of presidential power.

Tarred and Feathered by Angelbert Metoyer.

Another bust sure to raise eyebrows is New Orleans artist Angelbert Metoyer’s “Tarred and Feathered,” in which we find the former president, his black face streaked with bright gold, wearing a crown of feathers like a Native American tribal leader. Metoyer suggests opponents, with their fierce disdain, in effect tarred and feathered Obama. But the symbolism is two-sided. “In the Afro-Caribbean cultures of the South,” the artist noted, a crown of feathers signals power and prestige. “With this bust,” she said, wrapping things up nicely, “the punishment became instead an adornment – he is beautified by it.”

Preston Sampson’s Tales Retold.

Finally, the somewhat downbeat “Tales Retold” by Baltimore artist Preston Sampson acknowledges Obama’s huge accomplishment as the first Black president, but steps back to ask whether his administration really changed the trajectory Sampson argues the country’s been on for at least a century.

In “Tales,” Obama is decked out in a Roman centurion’s helmet, complete with red plume. While many Americans are proud that we elected Obama, the artist suggests we still resemble the Roman Empire more than we might like to think, and that the president, for all his virtues, did little to alter that.

Which leads to a heavy question: “Will we follow the same course of ruin?” as Sampson asked in his artist’s statement. “That tale is yet to be told.”

Mr. President Hear Our Cry by Kevin Cole.

44 – Portraits of a President will be up at the Charles H. Wright Museum of African American History through Dec. 31,2022.

Karinna Sanchez Klocko : “Memories” @ Image Works

By Michael Hodges

On May 7, 2022

In Uncategorized

The exhibition space at Image Works is small but highly visible – the display windows on Michigan Avenue, which stay lit all night long.

It may be one of the smallest gallery spaces in the Detroit area. It’s virtually a pop-up. But the art by Karinna Sanchez Klocko hanging in the display windows at Image Works, a fine-art photo-printing shop in Dearborn, is both punchy and well worth a look. With “Memories,” the artist – a young graphic designer living in Commerce – takes a nostalgic look back at her childhood in Monterrey, Mexico, creating digital vignettes that, in the words of the artist’s statement, “capture the memories and dreams of the moment.” “Memories” will be up through May 27.

Karinna Sanches Klocko creates her vividly colored, untitled canvases on the computer.

What you find at Image Works is a handful of sunny, color-drenched interiors, all accented with sprays of tropical flowers. The mood is cheerfully nostalgic, not syrupy. The domestic subjects – among others, a hallway leading to a front door, a bureau partly covered by a floral tablecloth, and a kitchen corner with fruit hanging in baskets next to an old “Trimline” wall phone – are unremarkable in themselves, but radiate light and comfort and “home.” The point of view is highly personal, as if the artist were, indeed, trying to reassemble scenes once commonplace, but now far in the past and scattered.

The artist’s digital creations take an affectionate look back at her Mexican childhood.

There’s a specificity to the images that’s engaging. The kitchen counter is guarded by a tiny, metal turtle. Flower pots on the bureau have highly particular designs that feel rooted in reality. So too with the blue, patterned-tile floor leading to the front door. These are digitally created designs, of course, not photographs. But there’s a distinct Kodachrome quality to Klocko’s color palette – a radiant spectrum that if not unique to Latin America, certainly typifies much of the art that’s blossomed in warmer and sunnier lands south of the Rio Grande.

Image Works owner Chris Bennett, who moved to Detroit from Portland, Oregon, five years ago, says he first got to know Klocko when she came in as a customer. A lot of artists, he says, bring work to him for digital reproduction. In Klocko’s case, Bennett liked what he saw, and invited the Michigan State graduate to do a show.

It may seem counterintuitive, but maintaining a gallery in a photo shop has long been Bennett’s habit and ambition. “I love exhibiting artists’ work,” he said, “and it’s a great way to build community as well. It adds another element.”

Bennett moved to the present Michigan Avenue location last July from his old shop in Dearborn. While he doesn’t have as much gallery space here as before, he’s got dynamite display windows fronting a major thoroughfare that seem design-made for his intentions: “I wanted to do large-scale pieces that could easily be seen from the road,” he said, “that would attract people’s attention without causing accidents.”

In another civic-minded gesture, Bennett leaves the window lights on all night long – offering a bright dash of color that’s bound to surprise west-bound drivers in the wee hours.

Albert Kahn: Innovation & Influence @ Detroit Historical Museum

An installation shot of the Albert Kahn exhibition at the Detroit Historical Museum. (Michael G. Smith)

An outstanding new exhibition on Detroit’s most-famous architect, “Albert Kahn: Innovation & Influence on 20^thCentury Architecture,” is up at the Detroit Historical Museum through July 3. Organized by the new nonprofit Albert Kahn Legacy Foundation, with a mission to “honor, educate and preserve,” the show aims to broaden knowledge and capitalize on the recent uptick in the industrial architect’s reputation nationwide.

This is a handsome exhibition with a number of salient virtues — not too big, not too small, enlivened by smart, concise text, cool graphic design, and striking Lego replicas of some of the architect’s most famous buildings.

What’s not to like?

Start with the Lego structures. The eight-foot-tall model of the Fisher Building at the center of the gallery is a total scene-stealer. Made up of 120,000 pieces, the 300-pound behemoth is the work of local Lego-master James Garrett, who specializes in models of Detroit’s pre-war architecture. Other replicas on display include the Russell Industrial Center (originally the Murray Body Corporation) and Capitol Park’s Griswold Building, long empty but now renovated into luxury apartments and rechristened “The Albert” in honor of its designer.

The show does a superb job laying out Kahn’s early life, and his arrival in Detroit as an impoverished Jewish immigrant when he was about 12. From there on, of course – once he lands his apprenticeship with Mason & Rice, a highly significant downtown firm – the youngster scaled the professional ladder quickly and with astonishing ease. Among other things, Kahn from an early age was a remarkably gifted freehand sketch artist (credit his teacher – Detroit artist Julius Melchers), and the show contains several of his drawings from European travels.

Albert Kahn, seated at left, in the offices of Mason & Rice when he was about 19. (Albert Kahn Associates)

For those who don’t know Kahn’s work well, there are also some marvelous surprises here — not least the fact that the Fisher Building, as we know it, is only one-third of a massive complex with a central tower that got scotched once the stock market crashed in 1929.

The exhibition also lays out the Kahn firm’s astonishing work in the late 1920s and early 30s building over 500 plants and factories across the Soviet Union, an effort that industrialized what had been a backward, agrarian economy. Want to know why the USSR didn’t collapse when the Nazis invaded in 1941-42? The answer has a lot to do with the armaments that rolled off the production lines of Kahn-built factories like the vast Stalingrad Tractor Plant.

The exhibition also explores the architect’s relationship with Henry Ford, Kahn’s most-important client from 1908 on, when he began to design the Highland Park Model-T plant. It also discusses his relationship with the automaker once the latter’s Dearborn Independent newspaper launched a weekly series of anti-Semitic screeds in 1920, “The International Jew: The World’s Problem.” (Despite this, Ford clearly liked and admired Kahn, calling him “one of the best men I ever knew” on the architect’s death in 1942.)

Kahn’s revolutionary, reinforced concrete factories for Ford, with their lack of ornamentation, huge windows, and geometric-grid facades, established the standard for modern industry worldwide in the early 20^th century. They also, as the section titled “Kahn’s Influence on Modernism” details, had a seismic impact on young architectural rebels in Europe desperate for a new, “pure” architecture, which they found in Kahn’s stripped-down Ford plants. Both Walter Gropius and Le Corbusier cited the Highland Park complex in writings that laid out the tenets of early architectural modernism.

All in all, this is a show anyone proud of Detroit’s architectural heritage will not want to miss. Indeed, Albert himself would be proud.

One of Kahn’s crowning achievements – the Fisher Building arcade and lobby. (Michael G. Smith)

Karinna Sanchez Klocko: “Memories” at Image Works in Dearborn will be up through May 27.

Albert Kahn: Innovation & Influence on 20^th Century Architecture will be at the Detroit Historical Museum until July 3.

Castagnacci: Quarry Echoes & Wanderings @ BBAC

By Michael Hodges

On April 2, 2022

In Drawing, Paintings

Vincent Castagnacci: Quarry Echoes & Wanderings at the Birmingham Bloomfield Art Center

An installation view of Vincent Castagnacci: Quarry Echoes & Wanderings, which will be at the Birmingham Bloomfield Art Center until April 21.

Vincent Castagnacci: Quarry Echoes & Wanderings (1984-2021) is an intriguing tour through abstraction with a distinctly geometric cast, and will be up at the Birmingham Bloomfield Art Center through April 21. Castagnacci, the University of Michigan’s Arthur F. Thurnau Professor of Fine Art Emeritus, takes rationalism’s standard forms – squares, semi-circles, triangles and parallel lines – and twists them to his liking, confounding conventional expectations.

Take, for example, the large, black and white VII.06 – 19.VIII.06. This series of interconnected squares, some scored in dull red, has an undeniable momentum, and appears to be in the process of levitating from left to right. The piece is spare, and looks like it was sketched rather quickly — doubtless an illusion. In some respects, you could say it resembles a series of matchbooks or, more intriguingly, the sort of early renderings architects jot down to see how different building volumes will interact with one another.

Vincent Castagnacci, VII.06 – 19.VIII.06, Charcoal pencil, Dry pigment, Gesso, 2007.

But Castagnacci, who maintains a studio locally in Pinckney and one in Gloucester, Massachusetts, attributes the genesis of his work to the geometry of natural landscapes, not man-made forms. In his artist’s statement Castagnacci cites the “coastal topography of Cape Ann” around Gloucester, with its boulder-tossed beaches and craggy granite bluffs, as both inspiration and defining aesthetic undergirding his point of view. So perhaps VII.06 – 19.VIII.06 is less architectural and more a tectonic rendering of rock and hillside.

Castagnacci, who arrived at the University of Michigan in 1973, studied at the Boston Museum School at Tufts University, then followed that with both a B.F.A. and M.F.A. from Yale. He was most recently a Mellon Fellow at Kalamazoo College, and has also been a visiting artist at the American Academy in Rome. His artistic interests range widely. Encouraged by the dean of the U-M School of Art & Design to reach across academic boundaries, Castagnacci collaborated with percussionist and composer Michael Gould in a five-year project that in 2005 yielded Into the Quarry, an installation celebrating the convergence of art and music in space and time.

Annie VanGelderen, BBAC president and CEO, praised Castagnacci’s “incredible body of work, one that demonstrates both restraint and a thread connecting through the years.” The pieces on display, she added, “unfold in geometric presentation, whether with painting, drawing or printmaking.”

Vincent Castagnacci, Rome: III.25.80-20.VII.12, Oil and chalk, 2012

The contrast between Castagnacci’s spare black-and-white drawings and his colorful, texture-rich paintings, which pop like exclamation points, is part of what gives this exhibition its juice. The oil-and-chalk Rome: III.25.80-20.VII.12 offers a pleasing contrast to the “simpler” works, an essay in repetitive verticals that progress in color from dull, mottled shades of powder blue to nightingale brown. It’s a remarkably textured exercise. The effect, one viewer suggested, reminded her of the raw material for blue jeans, though for this visitor, it read more like a satisfyingly weathered, corrugated metal wall in tones of grayish-blue.

There are a number of absorbing essays in squares and rectangles here, including the austere, geometric 23.II-5.III.11#1, comprised of three or four superimposed frames. Two are squarish, while a third contained within the others tilts and lists into its fellows, like an unsteady parallelogram. Rendered in surprisingly rich tones of charcoal and ash, 23.II-5 almost amounts to a monochromatic color study, animated by a densely textured black rectangle that anchors the work and gives it its mesmerizing depth.

Vincent Castagnacci, 23.II-5.III.11#1, Oil, 1997

23.II-5.III.11#1, is a warm, color-saturated canvas in distressed shades of barn red, scored here and there with verticals and horizontals that almost suggest inset panels in a door. In some ways this lush, resonant piece feels thousands of miles from the Massachusetts coast and Cape Ann. In its warmth and seemingly ancient appearance, it calls up the Mediterranean more readily than the North Atlantic.

Finally, 7-11.X.19, one of the handsomest pieces on display, is a highly formalistic, acrylic-and-ash color study in green, periwinkle, lavender and shades of gray edging into black. Part of the charm of this composition is that while the strong colors all seem to occupy the same plane, the dark gray they frame looks downright three-dimensional, as if that quadrant of the canvas were receding several inches from the rest of the work. It’s an absorbing design that tiptoes to the edge of trompe l’oeil.

Vincent Castagnacci, 7-11.X.19, Acrylic, Ash, 2019.

Get ready for something completely different when you pass from Castagnacci to the adjacent gallery housing Christine Welch’s Nature of Things, also up through April 21. The first work that greets you is a “wasp comb,” very much like a honeycomb, framed in a box atop a bed of greenish-yellow leaves. Wasp nests figure large in this unusual exhibition. Indeed, perhaps the most-striking elements are the several large paper-wasp nests hanging from the ceiling like so many cocoons of prodigious size.

Welch says she’s dazzled by our connection to nature, and in particular with the structural similarities beneath the surface of any number of natural forms, the human body included. With Nature’s Seamstress, she constructs a mannequin out of a clothing designer’s dress form, in a skirt made from large sheets of wasp paper, and a round wasp comb for a head. Completing the ensemble are two strands of large, brown seed pods strung together into a necklace.

The combination of oddball elements at first sounds like it might be amusing, a bit of a visual joke, but the actual assemblage is far more sobering than humorous, with suggestions of a totemic form constructed by a people far more intimate with the natural sphere than those of us in the “civilized” world.

An installation view of Nature of Things: Christine Welch, at the Birmingham Bloomfield Art Center through April 21.

Christine Welch, Hive, at the Birmingham Bloomfield Art Center

Both Vincent Castagnacci: Quarry Echoes & Wanderings (1984-2021) and Nature of Things: Christine Welch will be up at the Birmingham Bloomfield Art Center through April 21.

Romare Bearden: Abstractions @ UMMA

By Michael Hodges

On March 10, 2022

In Paintings

An installation view of “Romare Bearden: Abstractions,” at the University of Michigan Museum of Art through May 15.

“Romare Bearden: Abstractions” at the University of Michigan Museum of Art through May 15 tackles work the African-American artist produced between 1952 and 1964, what some scholars call Bearden’s “forgotten decade.” That characterization is intriguing since he exhibited and won commissions during those years. But the pieces he was showing at the time – abstract oils and watercolors, as well as highly stylized figurative works — have since been elbowed aside by the blistering originality of Bearden’s Cubist-inflected collages and photomontages depicting everyday Black life.

For contrast and context, a number of those are also on display in this exhibition. But there’s no disputing the collages are what won the Charlotte, North Carolina native his place in art history. Indeed, in its 1988 obituary, the New York Times called Bearden “the nation’s foremost collagist.”

“Abstractions,” organized by the American Federation of Arts and SUNY’s Neuberger Museum of Art at Purchase College, considers the artist’s formative period in Paris and New York, one that ultimately led to an epiphany about what his art was supposed to do. Bottom line? In an era defined by the Civil Rights struggle, Bearden and many other Black artists felt abstraction was too pure, too apolitical, too far-removed from the demands of the age. So he put it down and turned his energy elsewhere.

“I felt,” Bearden said, “that the Negro was becoming too much of an abstraction, rather than the reality that art can give a subject.” He realized he had to “establish a world through art in which the validity of my Negro experience could live and make its own logic.” That led to the collages – and co-founding Harlem’s Spiral arts collective, whose members tried to work out the responsibility of the Black artist in an era of political and racial upheaval.

Romare Bearden, The Blues Has Got Me, 1944; Watercolor and ink on paper 29 x 35 ½ inches, SCAD Museum of Art, Savannah, GA, Permanent Collection, Gift of Dr. Walter O. Evans and Mrs. Linda J. Evans©, Romare Bearden Foundation / VAGA at Artists Rights Society (ARS), NY Courtesy American Federation of Arts

American culture is the richer for Bearden’s shift into collages, but there’s no denying much of his earlier work is gorgeous. Particularly striking are four or five small, stylized water colors, all painted in exquisite tones, that straddle the line between the literal and the abstract. “The Blues Has Got Me” from 1944, for example, is a portrait of two musicians jamming, though only one instrument, a fiddle or violin, is recognizable. The painting is a pleasing mash-up of competing colors and colliding triangles that form legs, chairs and a table. It’s bursting with energy, and frankly fun to examine.

In tone and feel, however, it could hardly be more different from 1962’s “River Mist,” one of Bearden’s later oil abstracts that’s a dreamy, almost geologic study in blue water tones and soft terra cotta. Long versed in watercolor, Bearden had struggled through much of the 1950s with oils. But when he and his wife Nanette moved from Harlem to a downtown loft on Canal Street, where Bearden spent the rest of his life, the artist began experimenting with much larger-scale works and developed his signature approach to abstract art.

Romare Bearden, River Mist, ca. 1962; Oil on unprimed linen, and oil, casein, and colored pencil on canvas, cut, torn, and mounted on painted board 54 ¼ x 40 7/8 inches, Romare Bearden Foundation, Courtesy of DC Moore Gallery, New York© Romare Bearden Foundation / VAGA at Artists Rights Society (ARS), NY, Courtesy American Federation of Arts

During this period, he also started studying with a Chinese master, identified only as a Mr. Wu on Bayard Street, in the techniques of Chinese calligraphy and ink-wash painting. That influence is especially visible in “Eastern Gate” from 1961, a diaphanous exercise in shades of pinkish beige crisscrossed by what appear to be fragments of calligraphy.

Romare Bearden, Eastern Gate, ca. 1961; Oil on canvas 55 7/8 x 44 inches, Romare Bearden Foundation, Courtesy of DC Moore Gallery, New York©, Romare Bearden Foundation / VAGA at Artists Rights Society (ARS), NY, Courtesy American Federation of Arts

Romare Howard Bearden was born in 1911 in Charlotte, North Carolina, but his parents moved to Harlem when he was very small. His father was a pianist, while his mother was a political activist, and the two created a rich, intellectually vibrant household for a young person to grow up in. The Bearden apartment became a favorite stopping-off point for poet Langston Hughes and other members of the Harlem Renaissance.

The teenaged Bearden ended up finishing high school in Pittsburgh while living with his grandparents, but after a stint at Boston University, he transferred to New York University, where he studied with the great satiric German artist George Grosz. After enlisting in the army during World War II, Bearden took advantage of the GI Bill and spent 1950 at the Sorbonne reading philosophy. While in the City of Lights he met writer Richard Wright as well Pablo Picasso, George Braque, and Constantin Brancusi – becoming good friends with the latter.

“Abstractions” is organized more or less chronologically, so you pass through galleries hung with large abstracts, and then round a corner and suddenly find yourself surrounded by the later collages. It’s a bracing, delightful shift in dynamism and excitement. Simply put, the collages – which often mix the beautiful and the bizarre – bristle with energy and veiled meaning.

Romare Bearden, Melon Season, 1967; Mixed media on canvas 56 ½ x 44 ½ inches, Collection Neuberger Museum of Art, Purchase College, State University New York, Gift of Roy R. Neuberger, 1976.26.45 ©, Romare Bearden Foundation / VAGA at Artists Rights Society (ARS), NY, Courtesy American Federation of Arts

One of the most striking is the 1967 “Melon Season,” a startling collage of two African-American women, in which the Cubist influence is undeniable. The woman at left is austere and rather beautiful, her profile comprised of contrasting black squares. For her part, the woman on the right has a deformed face patched together with three or four different graphic elements, one eye a good inch above the other, giving her a slightly daft look. It’s a little shocking, frankly, yet it’s precisely that tension between composure and disturbance that gives this grave work its magnetism

You’ll find “Abstractions” on UMMA’s second floor, in the A. Alfred Taubman Gallery 1. But before ascending the grand curved staircase, consider wandering the small exhibition, “You Are Here,” hung in the apse on the first floor of the original, neoclassical building. This show features pieces from the museum’s own collection that vault across centuries and genres. The superstar here is Kehinde Wiley’s 2008 “Saint Francis of Assisi,” based on Giovanni Bellini’s “St. Francis in the Desert” from 1480. But all the works selected by Jennifer M. Friess, UMMA associate curator of photography, are compelling. And as she encourages us, by all means, do play with Harry Bertoia’s small, elegant sound sculpture. You won’t regret it.

An installation view of “You Are Here” at the University of Michigan Museum of Art through May 7.

“Romare Bearden: Abstractions” is at the University of Michigan Museum of Art through May 15. “You Are Here” will be up through May 7.