Critical art reviews of Detroit galleries and museums weekly

Author: Ron Scott Page 2 of 22

Allie McGhee @ Cranbrook

Detroit Artist Allie McGhee exhibits a Retrospective, Banana Moon Horn, at Cranbrook Art Museum

Installation image, Allie McGhee, Retrospective, Banana Moon Horn, at Cranbrook Art Museum, all images courtesy CAM

Cranbrook Art Museum (CAM) opened a retrospective exhibition of artwork by artist Allie McGhee on October 30, 2021, which spans five decades of work produced at McGhee’s Jefferson Avenue studio in Detroit.

Laura Mott, the chief curator of contemporary art and design at Cranbrook Art Museum, curated the exhibition. She says, “My interest in Allie McGhee’s work came from seeing his paintings at local galleries in Detroit, but when I did my first studio visit with him, it was a revelation.  In his studio, I saw decades of work and an incredible arc of his artistic practice since the 1960s.  There is also a richness of ideas in his methods of production and research into history and science. When one encounters an incredible mind like Allie’s, it becomes a necessity to tell his story.  Furthermore, his work needed to be contextualized in art history, which is why it was important to have both an exhibition and publication.”

The exhibition brings together artwork that demonstrates the evolution of McGhee’s work back to the 1960’s, beginning with early representational work that quickly evolved to abstraction. McGhee’s work was heavily influenced by trends in the abstract expression movement and influenced by jazz musicians in the Black community.

Andrew Blauvelt, director of Cranbrook Art Museum, said of some of McGhee’s work, “Learning of McGhee’s interest in astronomy, their crumpled and twisted forms have taken on a new resonance, one that recalls the spatial complexities of Catastrophe theory and, in particular, the relative notion of the fold.”

This exhibition takes on more than forty years of paintings and drawings and documents the growth of one of Detroit’s most important artists. The museum produced this short 6-minute video as an introduction to Allie McGhee and his work.

From his recent talk at Cranbrook, the story goes that McGhee came upon an object in the street that reminded him of a KKK hood.  The object was an icing cone used in a bakery.  This occurred in a time period just a year or so after the 1967 Detroit Rebellion and caused McGhee to harness that energy and create an object that hung on the wall alongside a petrified banana, foreshadowing what would repeat itself for years to come.

Allie McGhee, The Ku Klux Klown, Mixed Media on found object, petrified banana, 1961.  All images courtesy of CAM

Ku Klux Klown coincided with his association with a black artist cooperative founded by Charles McGee. Charles organized the landmark 1969 exhibition Seven Black Artists at the Detroit Artists Market and founded Gallery 7. Along with Allie McGhee, members included Lester Johnson, Robert Murray, James Lee, Harold Neal, and Robert J. Stull.  For years, Allie McGhee pursued abstract expressionism using a variety of sizes, shapes, and materials on a flat canvas that hung on the wall. The object and the banana became the center of what was to be called Banana Moon Horn, the title of this exhibition and the Cranbrook publication.

Allie McGhee, TWA Light on Washburn, Mixed Media on canvas, 1989

One of the strongest compositions in the exhibition was from 1989. TWA Light on Washburn, repeats the reoccurring banana symbol that follows him over time. One of the trademarks of McGhee’s work is that he leaves behind the use of traditional brushes for flat sticks of varying sizes to move paint across the surface. In addition, he has a variety of tools to remove paint from a given area, be it cloth, wood or plastic.  This could easily have been when he preferred placing the canvas on the floor instead of using an easel to hold the stretched canvas on a frame. Gravity is his friend on the floor, not an obstacle, where mixing paint worked to his advantage.  In TWA Light on Washburn, we see the primary colors dominating the composition while using the spacing of thirds on the grid, both vertical and horizontal.  There is no evidence of brushwork on the canvas, only the stroke of a long stick he used to create geometric lines, shapes, and sometimes texture. Various values of red, blue, and yellow assist in holding everything together.

Allie McGhee, Apartheid, Mixed Media on Masonite, 48 x 120″, 1984

Most recently viewed in 2017 at the Detroit Institute of Arts as part of a large exhibition, McGhee’s Apartheid was on display in the Art of the Rebellion and Say It Loud, commemorating 50 years since July 23, 1967, when African Americans took to the streets of Detroit to express their anger and frustration with the injustice of law enforcement. It would come to be called the Detroit Rebellion.  McGhee’s work was then being shown by the N’Namdi Center for Contemporary Art. This painting highlights his use of angular shapes and splatters of paint to evoke and represent the tension of the time. The title Apartheid refers to the oppressive political system that existed in South Africa. The Civil Rights and Black Power movements inspired many African American artists to internalize the fight for civil rights in Detroit.

Allie McGhee, Fall Rush, Acrylic on enamel paper, 2013

Throughout his talk at Cranbrook Art Museum, McGhee continued to stress and talk about his approach. “ The process is more important than the subject.” Thanks to his diligent years of daily work, we see the artwork on the floor begin to evolve and ultimately create something very new. The work Fall Rush (2013) is acrylic and enamel on paper where McGhee has applied his sensibility to both sides of this heavy-duty paper and then worked on producing a crushed and folded object that would present itself on the wall. When I first viewed the work, my only context was the artwork by sculptor John Chamberlain who did something similar with scrap metal, usually mounted on a base as in Homer, 1960.  Chamberlain didn’t paint the metal, instead, he would find parts from scrap car lots where he discovered his colors in the parts of fenders and related shapes of metal. Here, McGhee, the painter, created his own material by painting both sides of the paper, canvas or vinyl, and inventing his shape using his well-developed sensibility. He puts his trust in the process.

Allie McGhee, Flip Side, Acrylic on enameled vinyl, 2015

In the piece Flip Side (2015), we see the evolution of this work where he adds elements after the object is created and on the wall. During the artist talk, he mentioned his interest in science and the various visual aspects of the universe, either through a telescope or a microscope.  McGhee mentioned participating in an Art & Science program that paired artists with scientists from the University of Michigan. The artists then made an artwork that was auctioned off to support scientific research. McGhee was seeking information based on scientific discovery where he sought truth and imagery in the cosmos.

And Allie McGhee talked briefly about the role of music in creating art with an emphasis on the Black jazz musicians John Coltrane, Thelonious Monk, and Charles Mingus. They all co-mingled with his process.

Russian abstract artist Wassily Kandinsky has said he was deeply inspired by music. He played the violin from an early age and even gave his works of art musical titles: ‘Improvisations’, Compositions’ and ‘Fugue.

I know I carefully select what I play in my studio. I always select instrumental-only by a variety of musicians like Dave Brubeck, Mozart, or Arvo Part.

Richard Dorment, the art historian, said of Paul Klee, “He started every picture with an abstract mark—a square, a triangle, a circle, a line or a dot—and then allowed that motif to evolve or grow, almost like a living organism.” Whether it is from subconscious dreams or Eric Dolphy on the Saxophone, Allie McGhee worked daily to the sound of jazz. The improvisational riffs provided support for the creation of rich abstraction in the studio, experimenting with materials, making the same mistakes over and over until something emerges and falls into place or rises to the top. What resonates in my thoughts is McGhee’s emphatic statement, “It’s the process, not the subject.”

In the Cranbrook publication, McGhee says, “A really good picture looks as if it’s happened at once. It is an immediate image. For my own work, when a picture looks labored and overworked, and you can’t read in it…there is something in there that has not got to do with beautiful art.  And I usually throw these out, though I think very often it takes ten of those over labored efforts to produce one really beautiful wrist motion that is synchronized with your head and heart, and you have it and therefore it looks as if it were born in a minute.”

Allie McGhee, Bloom, Acrylic, and enamel on fiberglass, 2019

In the acrylic and enamel on fiberglass Bloom, McGhee gives the viewer some insight with the title and adds details to the piece after its painted and folded creation. Who knows? The inspiration may have come from a memory of sitting at his mother’s kitchen table where some flowers were blooming in a vase. We see the surface where the artist draped and dragged the stick over the fiberglass on the floor, then the folding produced fluidity and pattern.

Laura Mott quoted McGhee in her writing about him as saying, “I can tell stories in my paintings about these significant contributions made through our history. To me, that’s a lot more exciting scientifically, spiritually, and visually to feed off of. It’s never-ending. The only limitation is the entire cosmos…I don’t think I will be able to use that up in my lifetime.”

Allie McGhee, Long Look, Acrylic and enamel on vinyl on wood. 2021

Right when you think these folded and crushed colorful objects art are the beneficiaries of a life’s work and might be his last body of new work, he comes back with new flatwork on the wall, like the painting, Long Look, an acrylic and enamel paint on vinyl attached to wood. Is he looking through a microscope or a telescope? Or is he reading The Elegant Universe by Brian Greene about how artists look to science for inspiration?  From the Cranbrook publication, McGhee writes, “I will see the Science section of The New York Times where there will be a photograph that is almost identical to something I painted years ago, like a picture from the Hubble telescope.”

There is something to be said about McGhee’s longevity with respect to being able to continue his process and reap the success of this later work. He is still exploring his evolutionary process, a painter of extraordinary ability who continues to contribute to the art record of Western civilization.

Allie McGhee exhibits a Retrospective, Banana Moon Horn, at Cranbrook Art Museum, through February 13, 2022.

 

 

 

Nanette Carter & Contemporaries @ N’Namdi

The work of Nanette Carter is joined by Al Loving, Sam Gilliam, and Gregory Coates at N’Namdi Center for Contemporary Art

A Survey, Thirty Years of work by Nanette Carter, Install Image courtesy of DAR

The new exhibition at N’Namdi Center for Contemporary Art centers on the artwork of Nanette Carter and three of her contemporaries. All the work is based on various ways to approach the depth and variety of abstraction. The exhibition surveys thirty years of work going back to 1983 when N’Namdi first exhibited the work of Nanette Carter. The video below gives the reader an in-depth explanation of her artwork where she talks about using oil paint on mylar and then cutting up and arranging forms, shapes, color, and line to express a unique composition.  Here, she takes the viewer through her process that begins with a small drawing.

Nanette Carter, Bouquet for Loving #17, Oils on Mylar, 57 x 50″ 2011

Carter has developed a painting style that consists of abstract designs and effects superimposed on top of each other in ways that emphasize chance but often reflect a theme as in the artwork Bouquet For Loving #17.  Carter does not precisely follow a particular tradition, and that’s evident in each of her works, which are stand-alone concepts to which she brings materials such as fabric into her oil paint on mylar world.

Nanette Carter, Aqueous #49, Oil Collage on Mylar, 46 x 53″ 2008

An example is a work Aqueous #49 where Carter elegantly composes a circular composition using her mylar collage on an expansive surface of textures based on an organic color palette. The random placement of patterned designs within the paintings, along with their slightly free-form outlines, establishes Carter’s desire to work both inside and outside the conventions of her genre.

Nanette Carter earned her B.A. at Oberlin College where she majored in Art and Art History.

Al Loving, Red Hook #1, Mixed Media on Board, 38 x 28″

Born in Detroit in 1935, Al Loving studied painting at the University of Michigan–Ann Arbor. After graduation, he relocated to New York where he found himself among a social group that included artists Robert Duran and Sam Gillian. In 1969, Loving famously became the first Black artist to have a one-person show at the Whitney Museum of American Art.

In the work Red Hook, Loving showcases his traditional spiral shapes creating a more organic abstraction.  A kind of shaped canvas relief on the wall, the mixed media piece draws primary colors together in a collage-type construction. His work became known for using geometric shapes and shaped canvases where he was drawn to corrugated cardboard and rag paper.

 

Sam Gilliam, In The Fog, Relief, hand-sewn, acrylic on hand-made paper, 36 x 48″, 2010

The color field painter is recognized for representing the United States at the Venice Biennale in 2017.  Gilliam was born in 1933 in Tupelo, Mississippi, and grew up in Louisville, Kentucky. The Black painter and lyrical abstractionist artist are associated with the Washington Color School, a group of Washington, D.C.-area artists who developed abstract art from color field painting in the 1950s and 1960s.

His works have also been described as belonging to abstract expressionism and often a more lyrical abstraction. He works on stretched, draped, and wrapped canvas and adds sculptural 3D elements. He is recognized as the first artist to introduce the idea of a draped, painted canvas hanging without stretcher bars around 1965, and this was a major contribution to the Color Field School.

Gilliam has worked with polypropylene, computer-generated imaging, metallic and iridescent acrylics, handmade paper, aluminum, steel, plywood, and plastic in his more recent work.  Sam Gilliam earned a B.A. and his M.A. at the University of Louisville.

 

Gregory Coates, I Made It, Mixed Media on Wood, 48 x 45″

Gregory Coates was born in Washington D.C. in 1961 and grew up in the northeast part of the district. He is a Black artist known for working in the realm of social abstraction. In this exhibition, the work I Made It is a composition of concentric circles of various sizes on an orange-red background.

Gregory Coates attended the Corcoran School of Art in Washington, D.C., from 1980-1982 and later the Skowhegan School of Painting and Sculpture in 1990.

George N’Namdi founded G. R. N’Namdi Galleries in 1982 in Detroit, Michigan. It is one of the oldest commercial galleries in the United States and features works of contemporary abstract artists. The gallery has established its reputation as the leader in educating and inspiring new and seasoned collectors.  They have worked hard at building art collections around Metro Detroit and beyond. Works from the gallery are featured in some of the most prominent public and private collections worldwide.

Nanette Carter & Contemporaries @ N’Namdi is on display through December 31, 2021

 

 

2021 Fall Exhibitions @ BBAC

The Birmingham Bloomfield Art Center Opens this Fall with Two Female Artists

One of the most prestigious non-profit art centers in Oakland County, the BBAC curates exhibitions in their five spacious galleries, including professional artists and art students taking classes at the art center. These two new exhibitions: Leah Waldo: Memory Gate and Glenna Adkins: Modern Impressions,  provide some fresh and accommodating visual art approaches from both of these up-and-coming artists.

Leah Waldo, Installation image, BBAC 2021

The sculpture of Leah Waldo includes a large variety of materials like clay, glass, wood, and cement. The minimalist forms touch on an assortment of geometric shapes and forms.  The reoccurring vertical clay objects dominate many of the clay pieces. Waldo describes her work by saying, “I consider my work to be distilled landscapes – the essence of physical and emotional landscapes infused into an object. Each piece is a little pocket universe, a soft invitation for the viewer to simply inhabit the emotional space and the spirit of raw, pristine nature. Because of my intention, history, and instinct as a healer, the objects and experiences I create are healing spaces. These pieces are invitations to share intimate moments of my life.”

Waldo utilizes a method called glass casting, in which molds are made out of plaster and silica. The molds are then filled with casting rocks, which melt together in the kiln. Waldo likes to melt the rocks, so they just begin to fuse and clump together, a technique she arrived at by experimenting with different casting cycles.

Leah Waldo, Heartopener, Clay, Glass, & Steel

The oblong vertical form in Heartopener is constructed with low-fire terra cotta and as both cast and etched glass elements supported with fabricated steel.  This introspective and contemplative clay sculpture achieves a contrast of material juxtaposing the exterior self while the glass represents the interior self.

Leah Waldo lives and works in the Asheville, NC area and earned her degree from the College of Creative Studies.

 

Glenna Adkins, Installation image, BBAC, 2021

In the Robinson Gallery, Glenna Adkins introduces her work with an exhibition titled Modern Impressions and provides the viewer with a light palette of color and a moving arrangement of abstract shapes and forms. The artist makes her home in Cincinnati, where her longtime studio is located at the Pendleton Art Center.  These abstract expressionistic paintings could be viewed as aerial landscapes with deliberate contrast between large masses of color and fine lines.

Glenna Adkins, Lucere, Acrylic paint on canvas, graphite.

In the painting Lucere, the work takes on a straightforward landscape painting with a horizon along the bottom and a sky shape dominated by white and blue.  Here she lays down a base layer of acrylic paint using a palette knife and brushes, then comes over the top with graphic pencil and oil stick for detail. Glenna’s work has an attraction to designers looking to place a large abstract in a modern setting.

Glenna Adkins earned a Bachelor of Fine Art at the University of Cincinnati’s College of Design, Art, and Architecture.

The Birmingham Bloomfield Art Center, founded in 1957, serves the Detroit region’s visual arts community. The mission is “to connect people of all ages and abilities with visual arts education, exhibition and other creative experiences. The BBAC does this by offering classes, exhibits, workshops and events to the public, and their exhibits are always free and open to the public.”

In addition to the two exhibitions reviewed here, the culinarian turned painter, Mary Wilson, has spent years painting with flavors in her own premier catering company. Mary has found her way from the flavor palate to the artistic palette with an eye for color and contrast. In keeping with having student exhibitions, there is an exhibition of work by the students of Fran Seikaly an artist working with oil, pastel and watercolor.

President and CEO Annie VanGelderen talks about this past year. “Courage has been needed in so many ways this past year! Whether it’s about venturing out, re-connecting with friends and loved ones, or exploring your talents, the BBAC has wonderful opportunities for creativity.”

The Birmingham Bloomfield Art Center exhibitions opened October 1 and runs through November 4, 2021.

 

 

 

 

The Pescovitz Art Collection @ Oakland University Art Gallery

Selections from the Mark and Ora Hirsch Pescovitz at Oakland University Art Gallery

Installation image, Pescovitz Collection, OUAG, 2021

In general, collectors have little regard for investment or profit. Rather, art is important to them for other reasons. The best way to understand the underlying drive of art collecting is by describing it as a means to create and strengthen social bonds and for collectors to communicate information about themselves to the world and newly formed networks. Great collectors are often as well-known and widely respected as the art they collect.

Look at the Eli Broad collection, the Barnes collection or the Paul Allen collection, just to name a few.  Collectors like these are famous because they demonstrate talent in selecting their art. J. Paul Getty, an oil baron from Minnesota, started collecting European paintings right before the Second World War, and Peggy Guggenheim, the niece of Solomon R. Guggenheim, was an early 20th-century socialite who became one of the most famous art collectors in the 1930s and 1940s.

Dr. Ora Hirsch Pescovitz, President of Oakland University, and her husband Mark collected art for forty years before he passed away in 2010. What started out as a small collection by her husband in the early 1970s evolved into a lifetime commitment.

The exhibition opened September 10, 2021, at the Oakland University Art Gallery, and is curated by Dick Goody, Chair, Department of Art & Art History and Director, Oakland University Art Gallery.

Chuck Close, Self Portrait, Silkscreen on Paper, 2000

Chuck Close rose to attention in the early 1970s with his grid-based compositions that replicated a type of photographic realism. The basis for his work depends on a photo image made up of small colorful shapes but, when viewed at a distance, reveals the more significant intended subject, usually a person or portrait. It is the invention of these small shapes that sets the work apart.  Close just recently passed away in August 2021. Chuck Close earned a BFA from the University of Washington and an MFA from Yale.

Christo & Jeanne-Claude, Package on Radio Flyer Wagon, 1993

Christo Vladimirov Javacheff and Jeanne-Claude were artists known for creating large-scale, site-specific environmental installations, often large landscape elements wrapped in fabric. Christo and his wife and artistic partner viewed their work as conceptual, as best seen in The Gates in Central Park, NYC, where visitors would pass underneath steel frames supporting free-standing panels of saffron-colored fabric. Much of their work was done preparing for an installation, supported with numerous drawings and prints. Radio Flyer Wagon, created in 1993, is a preliminary idea created using lithography and silkscreen printing.  Christo passed away on May 31, 2020, in New York, NY. Their works are held in the Los Angeles County Museum of Art collections, the Musée d’art moderne et d’art Contemporain in Nice, and the Cleveland Museum of Art, among many others.

Robert Mapplethorpe, Thomas, Silver Gelatin Print, 1986

Robert Mapplethorpe was an American photographer, best known for his black and white images. His work featured various subjects, including celebrity portraits, male and female nudes, self-portraits, and still-life images. His most controversial works documented and examined the gay male BDSM subculture of New York City in the late 1960s and early 1970s. Mapplethorpe lived with musician Patti Smith in his early years. She says, “Robert took areas of dark human consent and made them into art. He was presenting something new, something not seen or explored as he saw and explored it. Robert sought to elevate aspects of male experience, to imbue homosexuality with mysticism.” The Robert Mapplethorpe Foundation maintains and manages his work which raises millions of dollars for medical research.

Peter Milton, Family Reunion, Etching & Sugar Lift, 1986

Peter Winslow Milton is a colorblind American artist diagnosed with deuteranopia after hearing a comment about the pink in his landscapes. He attended the Virginia Military Institute and earned his MFA in 1961. Milton is a visual artist of black and white etchings and engravings that often display an extraordinary degree of photo-realistic detail placed in the service of a visionary aesthetic. His themes include architecture, history, and memory, as he employs complex layers in the printmaking process. In the work Stolen Moments, the method of aquatint printmaking is used where the artist creates wash effects by brushing them on the printing plate with a fluid in which sugar has been dissolved. The plate is then covered with stopping-out varnish and immersed in water; the sugar swells and lifts the varnish off the plate. Peter Milton attended the Virginia Military Institute and earned his MFA in 1961.

Christyl Boger, Off Shore, Glazed Earthenware, 2004

The artwork of Christyl Ann Boger is largely idealized nude ceramic figures that resemble 18th-century Greek porcelain sculpture with aspects that mimic contemporary ceramics.  In her statement, she says, “ The pieces featuring figures posed with a variation on inflatable beach toys that reference the heroic narratives of Greco Roman mythology in an absurdist way.”  The figures are 1/3 life-size earthenware, often incorporating gold enameling and typical western patterns such as fruits and flowers.  She worked as a Professor at Indiana University and earned her BFA at Miami University and her MFA at Ohio University.

Phillip Campbell, Afternoon Escape, Acylic on Canvas, 1991

Philip Campbell creates paintings and objects that have a physicality about their presence. These are either assemblages or collages on canvas, and he works with wood, paper and cloth. Afternoon Escape’s abstracted landscape is an acrylic collage on paper with simplified shapes of colorful objects.   He says in a statement, “By completing this major transformation, I have become a physical reflection of my art and a living product of my life’s work to date as well as inspiration for my future creations. A completely changed, renewed human being. My renewal experience has been the topic of many interesting conversations, and because of the discomfort of the healing process, I have been acutely and constantly aware of my transformation.”  Philip Campbell earned his BFA from the Herron School of Art.

Installation image, Pescovitz Collection, OUAG. 2021

There’s a difference between buying art and collecting art. Buying art is more of a random activity based on likes, preferences or attractions at any given moment while collecting art is more of a purposeful, directed long-term commitment.  The Pescovitz Art Collection on display at the Oakland University Art Gallery provides the students and the public with a large variety of artworks representing a diversity of art forms and expression.  It is worth a visit.

This exhibition includes artworks by: Yaacov Agam, Philip H. Campbell, Christo and Jeanne-Claude, Chuck Close, James Wille Faust, Sam Gilliam, Janis Goodman, Robert Mapplethorpe, Peter Milton, Judy Pfaff and John Torreano.

Selections from the Mark and Ora Hirsch Pescovitz Collection, will run through November 21, 2021 at Oakland University Art Gallery.

 

2021 All Media Exhibition @ Detroit Artist Market

Detroit Artist Market: All Media Exhibition, 2021, All images courtesy of DAR

The Detroit Artist Market has been mounting this All Media Biennial Exhibition for many years and getting a wide range of work based on the juror and their particular persuasion.  This exhibition’s juror, Valerie Mercer, DIA curator of African American Art, has significant experience in this market between her time at the Detroit Institute of Arts and the Detroit Artists Market. She says, “The 2021 All Media Exhibition reveals how Detroit artists kept busy during the surge of the pandemic. They created artworks that expressed, through varied artistic approaches, the importance of hope, survival, love, humanity, identity, beauty, community, nature, and culture for their and our lives.”

The exhibition includes nearly seventy artists reflecting a large variety of media. Here are works of art that might give the reader a feel for the variety of work in the exhibition.

Harold Allen, Laocoon, Acrylic on Canvas, 2020

The painting Laocoon by Harold Allen jumps out at the viewer with this abstract expressionistic non-objective action painting that piles these five-inch brush strokes up on top of each other, working from dark tones in the background to bright primary colors in the foreground. He says, “What I want is for the viewer to have is the concept that the shapes and color have a narrative sense about the interaction, activity, and relationship with each other.” Harold Allen earned his BFA from the College of Creative Studies and an MFA from Wayne State University.

Ian Matchett, Jazz, Oil on Canvas, 2021

The painter Ian Matchett captured the sizeable realistic oil portrait from a low angle, as his subject sits on a porch edge with a Covid mask hanging off his ear. The painting Jazz was selected Best in Show and sends a message that figure painting still has some life left in this century-old mainstay of expression.  He says in his statement, “I use a mixture of processes to compose my paintings including reference images, sketches, and when possible collaboration with the subjects. When depicting living people, I prioritize meeting with the subjects of my paintings. We discuss what drives their work, what keeps them going, what I see, what they want to share, and ultimately how I could build all of this into a painting.” Matchett is a graduate of UofM in fine art and social studies, which he continues as a part-time social organizer living and working in Detroit. Most of his work focuses on the connections and continuities between revolutionary movements of the past and present.

Ann Smith, America the Beautiful, Steel, Paper Mash, Wood, Bark, Paint products, 2020

The sculpture located on a base, Ann Smith’s America The Beautiful, is a large free-standing organic plant-like work constructed on a steel armature, shaped with paper mâché and painted colorfully with paint products. She says, “These sculptural accretions are visual artifacts of the thoughts and experiences of one contemporary organism, and investigate my place in the system.” Ann Smith has an art studio in the 333 Midland studio in Highland Park where she is one of twenty-five resident artists, collectively known for their BIG shows. Ann Smith is a graduate of the College for Creative Studies.

Nolan Young, Untitled Relief, Encaustic, Mixed Media, 2021

This young artist, Nolan Young, presents a relief that reminds this writer of Cass Corridor’s work from the 1970s.  It could be described as “Newton-esque.” He says in his statement, “Reconstruction through destruction is a key element to my work.  I use found objects, often discarded and forgotten objects to represent observations I have made about post-industrial Detroit. As a product of this environment, I cut and vandalize these objects to create scenes in which the events of deconstruction is a process for Reconstruction.”

Donita Simpson, Portrait of Carl Wilson, Photograph, 2017

The image Portrait of Carl Wilson demonstrates the photographic quality in this well-known Detroit photographer, Donita Simpson. Best known for her portrait of Gilda Snowden (2014), she has captured the larger-than-life quality in her image of the famous abstract Detroit artist. In the Portrait of Carl Wilson, Simpson frames her subject surrounded by contemporary art, just right off-center, capturing this relaxed expression of Mr. Wilson. For years, Simpson has been documenting Detroit artists in their work and where they live. Donita Simpson earned her BFA and MFA from Wayne State University.

Woodbridge Estates, Acrylic on Panel, 2021

This small oil painting, Woodbridge Estates, is representative of the urban landscape painting by the artist Bryant Tillman. Streets, parked cars, neighborhoods, and low light casting high contrast shadows across these subjects with a fluid palette of paint. Bryant Tillman was a 2013 Kresge Visual Arts Fellow.  https://www.kresgeartsindetroit.org/portfolio-posts/bryant-tillman  The Detroit artist has painted in the City of Detroit for thirty-five years and has given his audiences his indelible style of impressionism, exemplified by the painting of a Honda Accord with his own shadow cast on the car’s body.  Bryant Tillman was awarded the Pollock-Krasner Foundation Grant, New York, NY, in 2017.

Participating Artists:

Jide Aje, Harold Allen, Zoe Beaudry, Robert Beras, Boisali Biswas, Davariz Broaden, Marguerite Carlton, Chris Charron, Sherell Chillik, Winnie Chrzanowski, Glenn Corey, Amelia Currier, Valarie Davis, Edmund Dorsey, Artina Dozier, Laurel Dugan, Jan Filarski, Anne Furnaris, Myles Gallagher, Bill Gemmell, Alex Gilford, Dae Jona Gordon, Albert Gordon, Jabrion Graham, Margaret Griggs, Talese Harris, Steven Hauptman, Carol Jackson, Naigael Johnson, Dawnice Kerchaert, Rosemary Lee, Brant MacLean, Lilly Marinelli, Ian Matchett, David McLemore, David Mikesell, Timothy O’Neill, Bruce Peterson, Marcia Polenberg, Shirley Reasor, Laura Reed, Philip Ross, Angelo Sherman, Donita Simpson, Cameron Singletary, Ann Smith, Nicolena Stubbs, Rosemary Summers, Ron Teachworth, Roger Tertocha, Bryant Tillman, Vasundhara Tolia, Kimberly Tosolt, Alan Vidali, Bryan Wilson, Marsha Wright, Nolan Young, Lori Zurvalec.

Detroit Artist Market: All Media Exhibition, 2021

Detroit Artist Market: All Media Exhibition, through September 11, 2021

 

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