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Stephen Abolite, Installation image, N’Namdi Center for the Arts, 2022
N’Namdi Center for the Arts opened a solo exhibition on September 22, 2022, by the multidisciplinary artist Stephen Arboite born in Haiti, grew up in New York City, and now resides in Miami. Curated by George N’Namdi, he says, “ The spiritual work is dominated by a greater sense of self. Arboite asks the viewer to immerse themselves in an examination of understanding of self through a psycho-spiritual lens, hopefully generating awareness of emotional and mental well-being, and a path to a potentially reconstructed journey.”
These multimedia collage self-portraits are obviously influenced by his Haitian heritage, which portrays the spiritual essence essentially manipulated by African spiritual practices. The mixture of human imagery with abstract elements engages the viewer with a combination of skill and ritual.
Stephan Aborite, Reflection Series #2, Acrylic, Coffee, Graphite, Collage Mixed Media on paper. 78″ x 31″ 2022
The artist refers to himself as multidisciplinary because some of the work is abstract fields of shape and color. As demonstrated in Reflection Series 2 there is a complex composition material set against a black background. He says in a statement, “Throughout that process, I found that the material itself, and how it dried, had a really intuitive quality,” says Arboite. “The same intuition that drew me to that led me to this current path. All these materials I use yield a certain weight, power, and energy. I think it is deeper than what is on the surface.”
Stephen Arboite, Bwa Kayıma, Acrylic, Coffee, Collage Mix Media, 50″ x 96″ 2022
This image is a combination of large shapes and small motifs that contrast with large solid areas in the composition soon led the artist on a powerful journey to explore his Haitian heritage and various discourses on the Caribbean diaspora. Many, if not most, of these collages use an overlapping outline of the artist’s face to make the point that all of these are self-portraits. Using a staining technique that includes ground coffee, metallic powders, and organic pigment, Arboite portrays the spiritual essence of his subjects. Whereas the spirit is primarily manipulated in African spiritual practices, his artworks perform a ritual that allows the aura to be seen up front and center.
Stephan Abolite, Reflection Series #3, Acrylic, Charcoal, Collage Mixed Media, 60 x 72″, 2022
Stephan Aboite is a multidisciplinary artist of Haitian descent who was born and raised in New York City and now resides in Miami. Arboite’s work considers beauty outside of classical aesthetic paradigms, emphasizing spiritual transformation and the evolution of human consciousness. Arboite considers himself primarily a self-taught artist with a foundation in drawing and painting from the State University of New York, Purchase College. His works have been exhibited nationally at the Museum of Contemporary Art in North Miami, N’Namdi Contemporary in Detroit and Miami, Prizm Art Fair, and the Urban Institute for Contemporary Arts in Michigan, amongst others. Some notable collections include the Jorge M. Pérez Art Museum of Miami, the Eric and Donna Johnson Collection, and the Arthur Primas Collection of African American Art.
The exhibition Big Good Angel is on display at the N’NAMDI Contemporary now through January 16th, 2023.
The Detroit Institute of Arts presents Van Gogh in America
Installation image, Van Gogh in America, Detroit Institute of Arts, 2022
The Detroit Institute of Arts (DIA) presents a landmark exhibition, Van Gogh in America, that features 74 works of art that opened on October 2, 2022, and will run through January 22, 2023. The DIA celebrates being the first museum in the country to purchase a painting by Vincent van Gogh in 1921. The work, Self-Portrait (1887), was purchased at a New York auction by Ralph Booth, then the President of the City of Detroit Art Commission. There are nine galleries of artwork, and the exhibition includes a section of Van Gogh’s contemporaries, including Paul Cezanne, Paul Gauguin, Henri Matisse, Raoul Dufy, Georges Ribemont-Dessaignes, and Joseph Stella.
Self-Portrait, Oil on board mounted to wood, 13 x 10″ Detroit Institute of Arts, 1887
Van Gogh painted more than forty self-portraits and loved to scrutinize his features which, unlike those of the 17th century, might be considered disturbing or unattractive. That, in itself, could not be more introspective. Van Gogh could not find or pay for models, so he used his image reflected in a mirror to create an extensive collection of variations of himself: An indication of his introverted nature.
Self-Portrait, Oil on Canvas, 16 x 13″, Wadsworth Atheneum Museum, 1887
The director of the DIA, Salvador Salort-Pons, says, “One hundred years after the DIA made the bold decision to purchase a van Gogh painting, we are honored to present Van Gogh in America. This unique exhibition includes numerous works that are rarely on public view in the United States and tells the story – for the first time – of how Van Gogh took shape in the hearts and minds of Americans during the last century.”
The works of Van Gogh and his images are ubiquitous in the United States, the Western world, and beyond. There was the novel by Irving Stone, Lust for Life (1934), followed by Vincente Minnelli’s film adaptation, starring Kirk Douglas, which shaped the artist’s popularity. In the mid-1970s, Leonard Nimoy starred in a one-person play called Vincent that he’d adapted from the play Van Gogh by Phillip Stephens. That set the stage for the songs by Don McClean’s Vincent and Starry, Starry Night, and numerous films and theater presentations like Loving Vincent, the world’s first hand-painted, animated feature film, in 2017. Recently there has been the Immersive Van Gogh, a light show based on his imagery, and I would be remiss if I did not mention the book cover of Gardner’s Art Through the Ages was printed from the image of the painting Starry, Starry Night. And these mentions are only a few of the different ways Van Gogh’s work has been used artistically in our culture.
For readers of this review, an easy way to explore the life of Vincent van Gogh is this video produced by the Van Gogh Museum. It may set the stage.
Courtesy of the Van Gogh Museum – 4:50 Minutes
When Van Gogh lived and worked in Paris for two years, he made friends with many artists who were part of the new impressionism that differed from the highly respected artists of the Hague School, sometimes known as the Barbizon School, working exclusively in the tradition of realism.
One of his favorite painters was the French artist Jean-Francois Millet (1814-1875), who featured peasants and rural settings in the countryside. The common themes were waterways, seascapes with boats, windmills, and canals. Millet’s work may have lingered in his mind, but along came this small stroke of paint with variations of color that would come to dominate many of the spaces in his compositions. Clearly, Van Gogh wanted to use color for its expressive value rather than make faithful replicas of the images received by the eye in realism.
It took six years and a team of professionals to create this exhibition. Scheduled to open earlier in 2020, that opening was delayed by the COVID-19 pandemic. This exhibition is part of the Bonnie Ann Larson Modern European Artist Series. The curatorial effort was led by Dr. Jill Shaw, Head of the James Duffy Department of Modern and Contemporary Art, and Rebecca A. Boylan and Thomas W. Sidlik of European Art, 1850–1970 at the DIA. In her statement, Dr. Shaw says, “Van Gogh in America examines the landmark moments and trajectory of the artist becoming fully integrated within the American collective imagination, even though he never set foot in the United States.”
Van Gogh’s Chair, Oil on Canvas, 36 x 28″, The National Gallery London, 1888.
The DIA exhibition of these 74 works of art opens with The Chair as a welcoming image to the show’s first gallery. Painted in December of 1888, when the relationship between Gauguin and Van Gogh had become strained, Van Gogh paints two chairs, the second being Gauguin’s, as his dream of sharing a studio with his close friend was rapidly disintegrating. Van Gogh’s simple chair sits empty, absent of its owner, and is an infinitely lonely image. It is an extraordinary instance of propelling a most familiar object beyond the realm of still life so that it comes to represent the artist himself.
The Bedroom, Oil on Canvas, 29 x 36″, Art Institute of Chicago, 1889.
Van Gogh painted this interior three times while he stayed in the Yellow House in Arles, France, as he was particularly pleased with the bedroom where he had a bed, a small table, and two chairs. This moment marked the first time the artist had a home of his own.
He wrote to his brother, Theo, “It amused me enormously doing this bare interior. With a simplicity à la Seurat. In ﬂat tints, but coarsely brushed in full impasto, the walls pale lilac, the ﬂoor in a broken and faded red, the chairs and the bed chrome yellow, the pillows and the sheet very pale lemon green, the bedspread blood-red, the dressing-table orange, the washbasin blue, the window green. I had wished to express utter repose with all these very different tones.”
Portrait of Postman Roulin, 32 x 25”, Oil on Canvas, Detroit Institute of Arts, 1888.
Van Gogh painted Joseph Roulin and his family several times each, and the painting here is the second version painted in early August 1888. There were at least seven portraits of Roulin, as he befriended not only the man but his entire family. He found affordability in the work of the Roulin family, for which he made several images of each person. In exchange, Van Gogh gave the Roulins one painting for each family member. One cannot imagine how the strokes of color in his beard appealed to van Gogh and this relatively new application of oil paint. The painting was acquired in 1935 by Edsel and Eleanor Ford as a gift to the DIA.
Fishing Boats on the Beach at les Saintes-Maries-de-la-Mer, Oil on Canvas, 25 x 32, Van Gogh Museum.
It was in February of 1888 that Van Gogh was living in Arles and would take excursions to Provence and the village of Les Saintes-Marie-de-la-Mer. Van Gogh would have liked to have made this painting on the beach, but the fishermen would put out to sea every morning, so he would make his drawings early and finish the painting in his apartment studio. In doing so, he could control his choice of color to his liking, using primary color juxtaposed with secondary color in the boat composition.
Starry Night (Starry Night Over the Rhone), Oil on Canvas, 28 x 36″, Musee d’ Orsay, 1888.
The DIA takes the visitor out of the exhibition with Starry Night Over the Rhone, which is just what this review will do. Just a two-minute walk from the Yellow House, painted in 1988, the subject is the night light and its effects on the river Rhone. The view from the east turn in the river towards the western shore of rocks is where Arles was built. After spending his days in the sunny fields of flowers and crops, the idea of painting at night must have intrigued Van Gogh. Here the gas lights from the town are complemented by the formation of the stars. Van Gogh writes to his brother Theo, “This morning I saw the countryside from my window a long time before sunrise with nothing but the morning star, which looked very big.” As it turns out, The Starry Night is one of the most recognizable paintings in western art.
On March 17, 1901, 71 of Van Gogh’s paintings were displayed at a show in Paris, and his fame grew enormously. Van Gogh’s sister-in-law, Johanna, had collected as many of Van Gogh’s paintings as she could but discovered that many had been destroyed or lost as Van Gogh’s mother had thrown away crates full of his art. His mother lived long enough to see her son hailed as an artistic genius.
Today, Vincent van Gogh is considered one of the greatest artists in human history.
I would like to distinguish between experiencing all the places one sees the remnants of Van Gogh’s artwork versus observing the original artwork up close in the DIA. That is one of the purposes of the museum. Educators and researchers refer to this experience as being in the presence of a “primary source.” Primary sources are what remains from the past. Aside from human memory and the unrecorded passing down of information from generation to generation, experiencing original paintings are the only way current generations can hope to understand what an authentic Van Gogh painting looks and, more importantly, feels like. In my later years, and over time, I have seen Vincent van Gogh paintings in various museums, but I never saw 74 artworks in one place. From so much that was written about him, Vincent van Gogh was a fragile and sensitive man burdened with poor health. As an artist, he became an instant soul mate to many. He was dependent and vulnerable but always willing to make himself available to his audience.
Take advantage of this opportunity to spend quality time at the Detroit Institute of Arts and join family and friends to view this extraordinary exhibition Van Gogh in America.
Installation image Van Gogh in America, Detroit Institute of Arts
Van Gogh in America celebrates the DIA’s status as the first public museum in the United States to purchase a painting by Vincent van Gogh, his Self-Portrait (1887). On the 100th anniversary of its acquisition, experience 74 authentic Van Gogh works from around the world and discover the fascinating story of America’s introduction to this iconic artist in an exhibition only at the DIA.
A full-length, illustrated catalog with essays by the exhibition curator and Van Gogh scholars will accompany the exhibition. The Detroit Institute of Arts is the exclusive venue for this exhibition.
Tickets are $7-$29 for adults; discounted prices are for residents in Wayne, Oakland, and Macomb counties. The DIA exhibition Van Gogh in America will run through January 22, 2022
Critical Voices: Selections from the Hall Collection at OUAG
Install Image Critical Voices: Selections from the Hall Collection 2022
The Oakland University Art Gallery opened the fall season with Critical Voices: Selections from the Hall Collection on September 9, 2022, curated by Leo Barnes, the new OUAG Gallery Manager. This is Barnes’ curatorial debut, but he’s leveraging five years of prior experience working with the Hall Foundation and its highly respected collection of both American and German contemporary art. He says, “The artworks, collected by Andrew and Christine Hall, present a unique index of the best contemporary art of the late 20th and 21stcenturies. It provides a window onto the complementary social conditions prevailing in two distinct continental spheres: Germany and the United States.
Tony Matelli, Fuck’d, Mixed Media Sculpture, the Hall Collection
Tony Matelli is an American sculptor perhaps best known for his work Sleepwalker. He was born in Chicago and received his MFA from the Cranbrook Academy of Art in 1995. He now lives and works in New York City. He incorporates figurative, botanical, and abstract forms in his sculpture, creating uncanny objects that are both unsettling and comical. Fuck’d up is a good example of these characteristics as it takes center stage in the OUAG gallery. Mr. Matelli has employed his formula of high-quality craftsmanship and lewd provocation, like the chimp being crucified using garden and household implements. Whatever the message, the artist leaves the viewer to interpret and make sense of the experience based on their own experience.
David Shrigley, Horror, Acrylic on Canvas, 40 x 40″, the Hall Collection
Horror is a kind of pop art with drips. When you scroll through David Shrigley’s Instagram page, there is a continuous stream of simple, single images of objects, all using bright colors. A maverick and an artist working in multiple disciplines, David Shrigley is now considered one of the most significant figures in contemporary British art. Making sense seems like nonsense is one way to describe his faux-naif work, which combines sweet childlike renderings with a sour, sardonic tone. In January 2020, the artist was awarded the decoration of Officer of the Most Excellent Order of the British Empire (OBE). The British visual artist was born in 1968 and is now living in England after living in Scotland for 27 years.
Al Weiwei, Oil Spills, 10 pieces, Porcelain, The Hall Collection
Oil Spills is an early piece by the renowned Chinese artist Ai Weiwei, a visual artist, dissident, and documentarian who is often referred to as the most influential artist of our time. Ai Weiwei was born in 1957 in Beijing. His father, the poet Ai Qing, was labeled a “rightist” in 1958, and Ai and his family were exiled, first to Heilongjiang in northeastern China and then soon after to the deserts of Xinjiang in northwestern China. Mr. Weiwei moved to the United States in 1981, living in New York between 1983 and 1999, where he briefly studied at the Parsons School of Design. His output over the past thirty years explores his ambivalent rapport with Western culture and with the culture of his own country. Oil Spills is an example of his conceptual art that explores the social issue and the aesthetics of an oil spill. This short video documents his exhibition in New York City in 2017. https://www.nytimes.com/video/arts/100000005490574/ai-weiwei-puts-up-fences-to-promote-freedom.html
Robert Longo, Icarus Rising, Single Channel video projection, 9 minutes & 44 seconds. The Hall Collection
The video Icarus Rising from the title of the exhibition, Amerika, is the German spelling of America, where Robert Longo references the Franz Kafka novel that traces an immigrant’s journey from Germany to New York. The nine-minute black and white video splices together images of torn paper and appears to be the artist’s first video work since the 1990s. The film features slowed footage of layers of printed photographic images, tweets, and headlines from news media being torn apart. The recorded incidental sounds of the tearing slowed in synchronization with the visuals, creating a soundtrack of groaning scrapes. The combined effect unsettlingly underscores the force, and often violence, of the actions captured in the images as well as the role the images play in shaping our world. Sculptor, painter, and draftsman Robert Longo is well known for his bold drawings and sculptural works fusing pop culture and Fine Art. Longo attended the University of North Texas before deciding to study sculpture in New York; he later received a BFA from SUNY Buffalo.
Katherine Bradford, Beautiful Lake, Oil on Canvas, 57×48″, 2009, the Hall Collection
The figurative painter, Katherine Bradford, provides this lush, color-saturated, and metaphorical lake to the Hall Collection. She combines a theatrical sense of light with an oblique narrative. The work here in Beautiful Lake is a kind of romantic realism, whimsical and spacious. Best known for her irregular grids and rows of dots spread out and around the figures, her representational work is meditative, laconic, and poetic. Born in 1942 in New York City, she attended Bryn Mawr College and later received her MFA from SUNY Purchase. The artist currently divides her time between Brooklyn, NY, and Brunswick, ME.
Joseph Beuys, The Dictatorship of the Parties Can be Overcome, Printed on a polyethylene shopping bag, 29.6 x 20, the Hall Collection.
Joseph Heinrich Beuys was a German artist, teacher, performance artist, and art theorist whose work reflected concepts of humanism, sociology, and anthroposophy. He was a founder of a provocative art movement known as Fluxus and was a key figure in the development of Happenings. The chart How the Dictatorship of the Parties Can Be Overcome was printed on a polyethylene shopping bag. It was produced by the Organization of Non-Voters Free Collective Referendum as a means by which to publicize their policies. The first diagram, which was originally hand drawn by Beuys, urges the replacement of political parties with a process of a direct referendum in German society. Do you get the idea? The complexity of his work is too large and long to mention here, but he says, “Only a conception of art revolutionized to this degree can turn into a politically productive force, coursing through each person and shaping history.” Joseph Beuys was born in 1921 in Krefeld, Germany, and died in 1986. After military service and time as a prisoner of war, Beuys studied sculpture at the Kunstacademie in Dusseldorf and served as Professor there from 1961 until 1972.
Derrick Adams, Figure in Urban Landscape, Acrylic paint and mixed media, 25 x 25″ the Hall Collection
In Figure in the Urban Landscape 40, Brooklyn-based Derrick Adams employs the tradition of portraiture to navigate and reimagine life in an urban society. On matte and painterly backgrounds of teal, silver, emerald, and integrated earth tones, two miniature model cars traverse the open, perpendicular blacktop roads that cut the ends of the composition. Adams draws inspiration from pop culture, personal memory, and neighbors; he says, “I pay attention to everything, from store windows to people in cafes talking, to people on the corner communicating. I like to think about surroundings as source materials.” Adams received his MFA from Columbia University and BFA from Pratt Institute.
Critical Voices: Selections from the HallCollection includes artists: Derrick Adams, Joseph Beuys, Katherine Bradford, Edward Burtynsky, Naoya Hatakeyama, Georg Herold, Barbara Kruger, Robert Longo, David Maisel, Tony Matelli, Carlos Motta, Robin Rhode, Wilhelm Sasnal, David Shrigley, Ai Weiwei.
For more than 40 years, the Oakland University Art Gallery (OUAG) has delivered diverse, museum-quality art to metro Detroit audiences. From September to May, the OUAG presents four different exhibitions – from cutting-edge contemporary art to projects exploring historical and global themes. The gallery also presents lectures, performances, tours, special events, and more.
The exhibition at OUAG is open through November 20, 2022.
Whitney Museum of Art Biennial 2022, Installation image
The Whitney Biennial is the longest-running survey of American art and has been a hallmark of the Museum since 1932. Initiated by the Museum’s founder Gertrude Vanderbilt Whitney as an invitational exhibition featuring artwork created in the preceding two years, the biennials were originally organized by medium, with painting alternating with sculpture and works on paper. Much has evolved over the years and this year the Biennial comes after being postponed because of the pandemic. The spaces here contrast significantly, acknowledging the acute polarities in American society. One floor is a labyrinth, a dark space of containment and another is a clearing, open and light field. The subtitle of this year’s Biennial is Quiet as it’s Kept, is a colloquialism. The quote comes from the writer Toni Morrison and is said prior to something, often obvious that should be kept a secret. The curators, David Beslin, and Adrenne Edwards have been entrusted with making the exhibition that resides within the Museum’s history, collection and reputation. This is the 18th iteration and continues to function as an ongoing experiment.
Denyse Thomasos, Displaced Burial/Burial at Gorée, 1993.
The sixth-floor section of the Biennial opens with two large-scale abstract works by the late artist Denyse Thomasos, who died in 2012 at 47. For these striking works, Thomasos was interested in creating the sense of claustrophobia felt by enslaved people crossing the Atlantic crossing and inmates being held in prisons. Her goal was “to capture the feeling of confinement,” she once said, per the wall text, as a way to explore how structures like ships and prisons have “left catastrophic effects on the Black psyche. Her black and white overlapping grids create a feeling of claustrophobia and captivity. There are two twin paintings presented here as the viewer enters a space that is entirely black. Most of this floor is divided up into rooms (all black) that serve as viewing rooms for art videos.
At the Whitney Biennial, center, the Indigenous artist Rebecca Belmore’s sculpture, “ishkode (fire),” 2021, made from clay and bullet casings. The Anishinaabe artist Rebecca Belmore—who was the first Indigenous artist to present Canada at the Venice Biennale, in 2005—made this commanding ceramic sculpture from a sleeping bag cast in clay and surrounded it with an arrangement of empty bullet casings. The work, a critique of the historic genocide and ongoing disproportionate violence against Indigenous people, is a centerpiece of the sixth floor of the exhibition, illuminated from above in the otherwise darkened space. “The work carries an emptiness,” the artist writes. “But at the same time, because it’s a standing figure, I’m hoping that the work contains some positive aspects of this idea that we need to try to deal with violence.” In the background, Guadalupe Rosales’s photographs of East Los Angeles, 2022.
Daniel Matinez, Post Manifesto for the Future, 2022
There are five photographs that document what Daniel Joseph Marinez has described as “radical performative experiment of becoming post-human and the evolution of a new species.” Martinez used his own body to interrogate and bear witness to the extraordinary moment in human history, our own self-destruction.” The recent abstract paintings on view here involve a process of accumulation in which the surface of the canvas is constructed of sweeping gestures, letters, drips, splatters, and moments of erasure is a reflection of how we evolve in life. The black and white silkscreened work of marks and impressions tries to articulate who we are or who we might be at any given moment: a kind of visual poem or disruption.
Adam Pendelton, Untitled 2021
Ralph Lemon is an interdisciplinary artist who works primarily in performance and has made drawings throughout his life. For the Biennial he has created a choreography of work that is presented in a group and moves throughout the exhibition in a circle. Every so often the work moves to a new position in the collection. Themes range from elaborate visual mediations and the nature of the artistic process itself to experiments refracting Black American culture, icons, music, and joy. It is fair to say this is an installation of images that changes its position during the exhibition.
Ralph Lemon, One of several from an untitled series, that changes. 2022
There are five paintings by Jane Dickson who shares the hopes and aspirations that commercial signs convey both in contemporary suburban spaces she photographed in New York City during the 1980s. The Motel is one of the five. Dickson’s careful depictions suggest that certain violence comes with making generalizations in the writing off of those who lead their lives in the areas that are frequently overlooked or dismissed. In her statement she says, “I chose to be a witness to my time, not to document its grand moments, but to capture the small telling ones, the overlooked everyday things that define a time and place.
Jane Dickson, Motel 5, Acrylic on Felt, 2019
Coco Fusco, Your Eyes Will Be an Empty Word, 2021.
In this new video, Coco Fusco directly reflects on the death toll caused by the pandemic. We see her in a boat just off Hart Island, near the Bronx. The island has long been the site of New York City’s potter’s field, where unclaimed bodies are buried. At the height of the AIDS crisis in the ’80s and ’90s, many bodies of people whose families had disowned them were sent here; over the past two years, it has again become active at an alarming rate. Fusco tapped poet and writer Pamela Sneed, an AIDS activist who penned a 2020 memoir Funeral Diva about that era, to provide the narration—written by Fusco—for this poignant mediation on death, loss, and grief. Over the course of 12 minutes, Sneed tells us that there could be as many as a million bodies buried here, but no one accurately knows. With the staggering total death totals from Covid, she notes, bodies become numbers in ways that make us forget the stories of those who are lost. Throughout the film, like a chorus, Sneed repeats, “‘When death comes it will have your eyes,’ he said.”
If you are visiting New York City before September 6, 2022, it is always a good experience to see what is going on around the country. Something worth note is there are four indigenous artists represented from various parts of Noth America. The exhibitions are on floors, 1, 3, 5, and 6.
In Summary, I would agree with the art critic Peter Schjeldahl who says “ long on installations and videos and short on painting, conventional sculpture, and straight photography.” When he writes for The New Yorker.Whitney Biennial 2022