Critical art reviews of Detroit galleries and museums weekly

Category: Ceramic Page 2 of 9

Kinship: The Legacy of Gallery 7 and From Scratch: Seeding Adornment @ MOCAD

Kinship: The Legacy of Gallery 7  and  From Scratch: Seeding Adornment, New Work by Lakela Brown @ Museum of Contemporary Art Detroit

Visitors to MOCAD this summer will have four new shows to enjoy, each adding a facet to the kaleidoscopic multicultural Detroit art scene.  At the entrance to the museum, we find “Kinship: The Legacy of Gallery 7.”   It’s a collection of significant objects and images providing a window into the art world of the late 1960’s, post-rebellion, when African American artists in Detroit achieved a collective sense of themselves and their purpose. Next, Lakela Brown’s first solo museum show “From Scratch: Seeding Adornment,” looks to a future that explores Black experience through racially specific foodways and styles of personal adornment. Drawing our attention out to the broader landscape, Meleko Mokgosi , a Botswanan artist and academic now living in the U.S., provides a scholarly examination of Black artists as they have seen themselves and are seen by others through the lens of colonialism and diasporic history. Lastly, in Mike Kelly’s Mobile Homestead, museum visitors will find a more informal conversation among the city’s artists, curators, and administrators on the collaborative nature of art presentation.

With apologies to the creatives responsible for “Zones of Non-Being” and “Word of Mouth,” and meaning no disrespect, l will concentrate here upon the artists represented in “Kinship” and “From Scratch. “

Kinship: The Legacy of Gallery 7

 Those with a particular interest in the art history of Detroit and of the African American artists working in abstraction in particular,  will have the pleasure of seeing a selection of work by some of the city’s most significant practitioners, many represented by the iconic Gallery 7, which showed outstanding work by Black (male) artists from 1969-1979. (In a spirit of retrospective reparation for past gender discrimination, Abel Gonzalez Fernandez, the curator of the exhibition, has also tactfully included work by several contemporaneous female artists, Elizabeth Youngblood, Gilda Snowden, and Naomi Dickerson.)

Fernandez has done an admirable job of telling the story of this seminal period in the city’s art history by employing a small, but choice, selection of artworks begged and borrowed from collectors, the artists themselves or their estates.  A welcome bonus is a newspaper-style publication accompanying the exhibition, which includes a well-researched and written short history of the gallery by the curator. The compilation of contemporary press coverage that accompanies his essay goes a long way toward explaining the excitement that accompanied the art that was shown there during the gallery’s ten-year existence. It is also a melancholy reminder of how much the art audience lost when intelligent art journalism in Detroit’s mainstream newspapers ceased with the advent of the Internet.

Lester Johnson (b. 1937) The Sorceress and the Dreamtime Spirits, 1974, installation: wood, fabric, vegetal fiber, feathers, bells.   All images courtesy of K.A. Letts

Several of the artists in “Kinship” take inspiration from African artifacts. One of the show’s highlights is The Sorceress and The Dreamtime Spirits (1974) 9 wall-mounted sculptures by Lester Johnson that mimic the form of West African ceremonial objects. The long rods made of found branches and poles are fabricated and decorated with industrial and post-industrial materials, a process Johnson describes as “creating a hybrid product between ancestors and urban present.”

Elizabeth Youngblood (b. 1952) Loop 8, 2015, porcelain and wire.

 Loop 8, by Elizabeth Youngblood, subtly references Black personal adornment, a recurring theme in the art of female African Americans, as we see in Lakela Brown’s nearby solo show. (But more on that later.)  Using the simplest means of expression, wire, and barely modeled porcelain clay, Youngblood teases out tremulous but insistent meaning from humble materials.

Harold Neal, a major figure in the Black Arts Movement of the 1970’s, is represented in “Kinship” by Brotherhood, a medium-sized, text-heavy artwork that wears its racial advocacy on its sleeve.  The artist’s work, through the 1960’s and 1970s when Gallery 7 was in operation, was figurative and militantly political. As a movement leader, he led a faction of Black creatives whose radical work was in tension, if not in opposition, to the more cerebral concerns of his fellow gallery artists. (A recently published history of this group, “Harold Neal and Detroit African American Artists: 1945 through the Black Arts Movement” by Julia R. Myers, is available from Amazon.)

Harold Neal (1924-1996) Brotherhood, n.d., oil on board.

The art practice of the Gallery 7 artists focused primarily on their own personal experience as African Americans, or as gallery founder Charles McGee explained, “My roots are in America, and the ideas I deal with as an artist come out of this time and place.”  McGee occupies a special position in Detroit’s art history. In addition to his importance as the force behind Gallery 7, he was an influential arts educator and a leader in the African American art community. Many of his public artworks can be seen throughout the city, and his importance was recently acknowledged by a posthumous survey of his work in the newly opened Shepherd in Detroit’s Little Village. Ring Around the Rosy, an early McGee work from the 1960s, is a tantalizing glimpse of the artist’s figurative work before he moved in a less conventional direction.

Charles McGee (1924-2021) Ring Around the Rosy, ca 1950’s, oil on board.

Allie McGhee, a significant Detroit artist honored by a major retrospective in 2022 at Cranbrook Art Museum, is represented here by a couple of lively abstract paintings. The Artist in his Studio (1973) is chromatically subdued, allowing the gestural line to take center stage.  His recurring use of a personal icon, the banana moon horn, was first seen during his tenure at Gallery 7 and continues in his current work, a personal, idiosyncratic emblem of ancestral energy brought from the past into the present.  Coco Blue (1984), a more colorful cousin to The Artist in His Studio, is typical of McGhee’s later work and exhibits the exuberant presence typical of his paintings.

Allie McGhee (b. 1941) Artist in the Studio, 1973, mixed media on Masonite.

 

Allie McGhee, Coco Blue, 1984, mixed media on Masonite.

Album, a self-portrait by Gilda Snowden, is a psychological and physical evocation of the artist, an embodiment of her tempestuous and elusive power. Her unexpected and premature death in 2014 cut short a promising career, but this painting preserves her positive presence. It is an enduring influence she shares with the eminent artists represented in “Kinship.”

Gilda Snowden (1954-2014) Album, 1989, oil on canvas.

Artists represented in “Kinship: The Legacy of Gallery 7”   Namoi Dickerson, Lester Johnson, Charles McGee, Allie McGhee, Harold Neal, Gilda Snowden, Robert J. Stull, Elizabeth Youngblood.   June 28-September 8, 2024

From Scratch: Seeding Adornment

LaKela Brown describes her first solo museum show, “From Scratch: Seeding Adornment,” as a love letter to her community. “I want to center culturally significant objects that challenge and hopefully correct historic […] notions of value and taste while loving the brilliance and ingenuity of my community,” she explains. Brown practices a kind of archeology in reverse—preserving present cultural artifacts for future appreciation rather than searching for ancient objects to excavate and exploit. She is looking forward rather than back.

Lakela Brown, Parts and Labor (Eight Collard Green Leaves, Five Hands) 2024, urethane resin.

Brown, who grew up in West Detroit, has filled two large galleries at MOCAD with resin and plaster casts of foods specifically related to the culture of the Black diaspora and objects of personal adornment, particularly doorknocker earrings. The materials she uses to create these artworks are well-known to artists and lend an air of elegance and permanence by their association with classical museum casts.

Lakela Brown, Doorway to Adornment, 2024, site-specific installation, urethane resin.

The first gallery features resin casts of vegetables– collard greens, corn, okra–artfully arranged on the gallery walls in square formats.  In a surreal touch, and in tribute to her matriarchal connections, the artist tucks barely visible casts of the delicate hands of her grandmother, Evelyn Helen Brown, in among the vegetables. Though the usual designation for artworks featuring food is still life, these pieces, in the formality of their presentation and their low-relief arrangement on a rectilinear base, seem to be more architectural in nature. In particular, the ruffled edges of the collard greens call to mind decorative rococo details one might see in an 18th-century European drawing room. Brown makes the comparison explicit with the site-specific row of cast collard greens installed over the doorway to the second gallery, Gateway to Adornment (2024). With her casts of ethnically specific doorknocker earrings, chain necklaces, and other ornaments to the body—including casts of crowned teeth—Brown taps into a rich vein of visual associations she shares with many of her contemporaries. A case in point is the work of Tiff Massey, now on view at the DIA, which features hair ornaments—oversized ponytail ties and enormous replicas of Snaptite Kiddie Barrettes, as well as an entire wall of hair weaves. The exhibition’s curator, Jova Lynne, who also shares many of Brown’s creative interests in her own work, says, “Lakela’s practice is a mirror to Black legacies that encourage people across the diaspora, including myself, to take pride in reflections of home…In her work, I see the cultivation of land, the preservation of adornment, and the production of artworks acting as ledgers of Black life.”

Lakela Brown,  Coverall Composition with Doorknocker Earrings.  , Gold (2023) plaster

The exhibitions on view now at MOCAD emphatically demonstrate the interrelated nature of the art community in Detroit, a true commonwealth of creatives who share philosophies, exchange materials and cross-pollinate cultures.  Born of common experience, each collection of artworks forms part of a contrapuntal melody–or maybe a jazz improvisation–of mutually reinforcing themes which flow from one gallery to the next and out into the city.

Kinship: The Legacy of Gallery 7 and From Scratch: Seeding Adornment @ MOCAD

 

Elevation: Kaneko & Contemporary Ceramics @ Elaine Jacobs Gallery

Wayne State University Art Exhibition – Elevation: Kaneko & Contemporary Ceramics at Elaine Jacobs Gallery

Installation: Elevation: Kaneko & Contemporary Ceramics, 2023, All images: Ashley Cook

The history of sculptural ceramics dates back to as early as the Paleolithic period with its small ritualistic animal and human figures modeled out of clay. Serving to represent and understand their environment, the people of that era exercised the practice of assigning meaning to an object that would otherwise be considered non-functional. With ceramic having such an instrumental role in the evolution of craft and technology throughout time, the conversation around it as a fine art medium is not necessarily new, but less usual. Elevation at Elaine Jacobs Gallery seeks to draw attention to fine artists working in ceramic, with a particular focus on Japanese artist Jun Kaneko, whose practice has been influential since the 1980s.

Untitled, 1984, Jun Kaneko, ceramic.

The exhibition statement provides accessibility to the curatorial objective of the thirty-three works on display. Following a brief background into the life of Kaneko, readers learn of the mentorships that shaped his early work and fostered his development into an artist with a unique conceptual approach to the use of ceramic. Curators Jessica Edgar, the Assistant Professor and Area Coordinator of Ceramics at Wayne State University, worked in collaboration with Kat Goffnett, the Assistant Curator of Collections at Cranbrook Art Museum, to assemble 11 artists, including Jun Kaneko, whose work carries on this lineage of exploration into contemporary times. In addition to the consistency of their applied medium, each of the selected artists have been observed to use metaphor to connect with their cultural heritage and examine the effects of diaspora on their relationship to material tradition. A purposefully wide array of backgrounds are successfully represented here to underline the expansive presence of clay as a strictly sculptural medium.

Vejigante: Viiejo, 2023, Joey Quiñones, ceramic, terracotta, wood, terra sigillata, gilding.

A majority of the artists selected to participate in this exhibition are part of their own cultural diaspora, traveling from places like Mexico City or Southern India to live and work as artists in the US. The organic and imperfect hand-built forms reference sculptures of ancient civilizations while the more precise patterning reminds us of modern ceramic techniques. Visitors have the opportunity to enjoy eclecticism of glaze use, subject and presentation as they navigate from rock-shaped floor and wall works by Jun Kaneko to Joey Quiñones’ Afro-Latinex inspired mask pieces. Patrice Renee Washington’s stoneware is accompanied by Renta Cassiano Alvarez’ mantel of ceramic, obsidian, gold, tile and wood, a digital print by Khalil Robert Irving, a ceramic-human hair hybrid sculpture by Adebunmi Gbadebo and a mixed media sculpture by Magdolene Dykstra. Up the stairs, the visitors approach a projected film by Ashwini Bhat presented in tandem with three of Bhat’s sculptures alongside three of Michiko Murakami’s experimental collage-like ceramic amalgamations, a wall work by Shaarbani Das Gupta and two iterations of a vase-like ceramic form by Ebitenyefa Baralaye. Jun Kaneko’s work is scattered evenly throughout both the first and second floor of the gallery, almost as a mirroring technique that allows for analysis of his influence in those who he has inspired.

Alive 1, Alive 2, Alive 3, 2023, Ashwini Bhat, glazed ceramic sculpture.

Elevation: Kaneko & Contemporary Ceramics at Elaine Jacobs Gallery opened on September 15, 2023 and is on view until December 9, 2023.

Spumoni, 2023, ceramic and Cloud Grid, 2023, graphite, sumi ink, Michiko Murakami.

Elaine Jacobs Gallery is located at 480 W Hancock St, Detroit, MI 48201.  Gallery Hours are Tuesday and Thursday from 12 p.m. to 5 p.m. and Friday from 12 p.m.-7 p.m

www.waynestategalleries.org/elaine-l-jacob-gallery

Iris Eichenberg @ David Klein Gallery

Iris Eichenberg: Topoanalysis / Wer Bin Ich? will be at the David Klein Gallery in Detroit though Nov. 4, 2023.

An installation shot of Iris Eichenberg: Topoanalysis / Wer Bin Ich? will be at the David Klein Gallery in Detroit through Nov. 4, 2023.  (All images courtesy of David Klein Gallery.)

With Topoanalysis / Wer Bin Ich?, Iris Eichenberg — the German-born, Dutch-educated head of metalsmithing at Cranbrook Academy of Art — continues her probing search for roots and meaning, particularly as found in material objects and places in memory. The solo exhibition will be up at Detroit’s David Klein Gallery until Nov. 4, 2023.

“Topoanalysis” is a term coined by the French philosopher Gaston Bachelard and refers to the psychological study of key sites in our intimate lives. And as the question in the title — “Who am I?” — underlines, this exhibition explores identity and personal history through allegorical representations of people and houses that still echo in Eichenberg’s life.

 

Iris Eichenberg, Academy Way, Wood, bark; 16 ½ by 24 ½ by 10 ½ inches, 2023.

The show comes in three parts, employing very different materials: wood, fabric, and pottery. But this won’t come as a surprise to anyone who’s followed the artist’s career since she first landed in America, at Cranbrook in 2006. Creative tools in Eichenberg’s hands have included materials as disparate as her grandmother’s silk stockings and silver spoons, colorful birds crammed in painful cages, knitted mittens, glistening ceramic vessels, or, in the case of her 2020 show The Center Piece / The Blank, white and dark-gray discs hung from elegant, wide strips of black fabric. From a distance, the wallscape read almost like modernist architecture.

What Eichenberg said in this writer’s first conversation with her 14 years ago is clearly still as apt as it was then, and amounts to a sort of design philosophy: “I always try to encounter and fight with new material.” Indeed she does.

In Topoanalysis, Eichenberg’s constructed simplified “houses” up to a couple feet tall that look a bit like giant versions of children’s blocks. Each structure, rendered in warm, contrasting wood tones, is a stand-in for someplace the artist lived, where memories and emotions are deeply lodged. Some of these houses are attached to poles with a cross-piece or handle at the far end, suggesting, perhaps, that even a house constitutes a tool.

 

Iris Eichenberg, J.P. Lennepkade 287/289 (Table), Wood, French linen, 30 by 76 ½ by 44 ½ inches, 2023.

It’s worth noting that for all their simplicity, the workmanship on these wooden sculptures is gorgeous, as are their compositional arrangements. An absolute knock-out, even if a total mystery, is J.P. Lennepkade 287/289 (Table), where a house resembling a Monopoly token you’d put on Park Place hangs several inches above the floor, suspended by a wooden dowel and cross-piece hanging from a tidy slot in the middle of a handsomely constructed table.

Interestingly, Eichenberg – an artist of multitudinous talents – milled all the wood that went into Topoanalysis from an old walnut tree that had to be taken down in a friend’s garden.

The artist’s current residence at Cranbrook, designed by Eliel Saarinen, is represented by a squat, gabled affair titled Academy Way that rests on a large, curvaceous piece of bark. (Other houses often sit on a cushion of beige French linen.) As it happens, the bark is not flush with the floor, but has a low “arch” in the center, right where you expect a solid foundation line. Stand back a ways, and you can see light peeking through from the far side.

 

Iris Eichenberg, Wer Bin Eich, French linen, brass weights, charcoal, 100 by 98 by 52 inches, 2023.

Compared to the wood houses, something entirely different is going on with Wer Bin Eich, an eight-foot-tall house built of draped French linen hung from hooks, a little like a quickly erected tent. Of all the works in the show, this is perhaps the most enigmatic, not least because of the rough charcoal sketch facing it on the wall a couple of feet away that echoes its outline in quick, slapdash strokes. If the wooden houses suggest permanence and solidity, Wer Bin Eich trumpets instability and the fragile nature of human constructions.

Peering down at these artifacts are three muted, abstract portraits of friends of Eichenberg’s – Ilse, Ida, and Frida. Their faces are rendered in dribs and drabs of meticulously stitched fabrics, ranging from cheesecloth to horse hair to damask.

 

Iris Eichenberg, Ida, French linen, gold linen, cheesecloth, mopcloth, rabbit fur, produce bag, Chinese silk, 72 by 48 inches, 2023.

Finally, the show is capped by a series of nine dark-gray earthenware vessels, some resting on wooden shelves that almost act as frames, and one cozying up to one of her wood houses.

These are not the fine, glossy ceramics Eichenberg’s made in the past. In their slumping and swelling, these primitive, near-black earthenware vessels feel almost organic – like zaftig body parts — with mouths that yearn to talk or pour. It’s hard not to see them as animate little… somethings.

All in all, Topoanalysis is an intriguing, sometimes dizzying mix. As Wayne State art historian Dora Apel wrote in “Essay’d” in 2019, in a comment that applies equally well to this domestic installation, Eichenberg’s work “evokes alienation and dislocation, combined with a sense of yearning for comfort, warmth, and attachment.”

Iris Eichenberg, Black Earthenware Pot, Wood, black earthenware, various dimensions, 2023.

The solo show Iris Eichenberg: Topoanalysis / Wer Bin Ich? will be up at Detroit’s David Klein Gallery through Nov. 4, 2023.

Concerning Landscape @ Detroit Artists Market

An installation shot of Concerning Landscape at Detroit Artists Market, up through Feb. 18. Image courtesy of Michael Hodges.

Over the centuries, the venerable landscape painting has evolved far from the Dutch masters who first perfected the genre — a fact underlined by the heterogeneous work in Concerning Landscape, up through Feb. 18 at both the Detroit Artists Market and the new Brigitte Harris Cancer Pavilion at the Henry Ford Cancer Institute in Detroit.

Curator Megan Winkel has adopted a refreshingly ecumenical point of view in pulling this together. Works range from Ann Smith’s intriguingly peculiar sculptures with their bunched reeds and dangling root systems to Carla Anderson’s photographic prints of geologic forms, including lyrically striated rocks in a spring in Yellowstone County, Wyoming.

A fan of the grand view? Not to worry. Concerning Landscape also embraces figurative vistas, like Helen Gotlib’s meticulous intaglio print, West Lake Preserve II, or Bill Schahfer’s lush photo study, Lagoon Life.

Helen Gotlib, West Lake Preserve II, Intaglio print, carved birch panel, palladium leaf; 2021.  All Images courtesy of DAM

 “West Lake Preserve” places the viewer right in the tall weeds, looking up a small valley to a pond and woods, a highly satisfying view. The large print’s divided into eight separate panels, and with the exception of a little dull orange at the top, it’s mostly a duotone essay in sepia and black. The photographic print, Lagoon Life, by contrast, stars a white ibis posing beneath a jungle crush of palm trees that all loom, menacingly, over the elegant bird’s head.

Winkel comes at all this curation from an interesting vantage point. She’s the manager and curator for the Healing Arts Program at Henry Ford Health Systems in Detroit, tasked with buying art for the sprawling medical empire. “Curatorial projects for me are mostly big buildings now,” she said, “and thinking about all the ways people can experience art when they’re not seeking it out.” The landscape, she adds, has understandably long found a home in medical centers given its generally soothing visions of a natural world far beyond the reach of the artificial light of the hospital ward.

Landscape as an art subject, of course, has a long, respectable history. Both the ancient Greeks and Romans enjoyed the genre, and the walls in upper-class homes were sometimes painted with pastoral views. But the status of the landscape plummeted in the Middle Ages, when religion elbowed every other art subject aside. Indeed, the natural world was reduced to a mere afterthought, and one with generally lousy perspective, to boot.

Things began to turn around in the Renaissance, particularly during Holland’s “Golden Age” in the late 16th and 17thcenturies, when an exquisite sensitivity to landscape and weather welled up in many studios, yielding in the best cases – van Ruisdael comes to mind — breathtakingly believable clouds and storm-tossed skies. Indeed, an online essay by the National Gallery of Art notes that “with their emphasis on atmosphere, Dutch landscapes might better be called ‘sky-scapes.’” (The Detroit Institute of Arts, by the way, has an outstanding collection of Golden Age Dutch paintings, well worth seeking out on your next visit.)

Catherine Peet, Looking Up from the Deep, Mixed media, 10” diameter.

The one piece in Concerning Landscape that gives van Ruisdael a run for his money is the vertiginous, gorgeous, Looking Up from the Deep by Catherine Peet, which you’ll find at the Henry Ford Cancer Pavilion gallery. This delicate sunrise or sunset-tinged cloudscape feels like it should be peering down at you from the dome of some state capitol, an impression strengthened by its circular frame.

Sharing some of the same warm tones but at the far abstract end of the spectrum is Carole Harris’ mixed-media Desert Flower. The 2015 Kresge Artist Fellow has constructed an overlapping stack of hand-made fiber sheets that read like thick, highly textured paper, in colors ranging from cocoa to an alarming red peeking out beneath all the others.

The simplicity of this particular conceit is striking, as is Harris’ ability to make real drama out of colors that only emerge as narrow strips visible beneath the warm brown sheet on top. That Desert Flower pushes the boundary of “landscape” goes without question – so, too, the fact that it kind of knocks the wind out of you.

Carole Harris, Desert Flower, Fiber, 2023

Russian transplant Olya Salimova, currently on a one-year BOLT Residency with the Chicago Artists Coalition, gives us something entirely different with her Body into Dill, one of the most original and daffy conceptions in the entire show. The centerpiece of this photograph is a rectangular garden space – disturbingly, about the size of a grave – that’s dug into the patchy lawn of some unpretentious backyard. Metal garden edging sunk in the turned-up dirt sketches a simple human shape, rather like police outlines of dead bodies on the sidewalk. Within that human-like enclosure, someone – Salimova? — has planted dill weed.

Its obvious imperfections are part of what makes this image so compelling. The yard clearly needs work, and the plantings in the “body” are scattered, newly dug and unsubstantial — apart from some vigorous leaf action filling up the head.

Olya Salimova, Body into Dill, Photography, 2021.

For those who enjoy a little disorientation in their photography – And when well done, who doesn’t? – Jon Setter’s collection of a half-dozen large prints, all up-close shots of building details, is a delight to behold. Each reads as an abstract design in 1920s Russian Constructivist mode. But in one case you’re looking at parallel diagonals on the late, lamented Main Art Theatre in Royal Oak, and in another, the Detroit Free Press building downtown on West Lafayette.  As a group, these deliberately confusing framings are both mischievous and fun to examine.

Jon Setter, Purple and Gold with Shadow (Detroit Free Press), Archival pigment print, 2021.

 Finally, Scenic Overlook 2 by Sharon Que, an Ann Arbor sculptor who also does high-end violin restoration, might remind you of a minimalist diorama minus the glass case. On a simple wooden shelf, Que’s sacked two smaller pieces of wood topped by a chalky white boulder or peak – part of the fun is the uncertainty — next to which sits a big, black, bushy… something.

Let’s stipulate that the white form is, indeed, a mountaintop. Call the spiky black, roundish thing next to it a plant, and you’ve got a surprisingly convincing perspective study of a bush and a white peak far, far in the distance – never mind its actual proximity in the assemblage.

Is it weird? Is it oddly compelling? Yes and yes.

Sharon Que, Scenic Overlook 2, Wood, magnetite, paint; 2016.

Concerning Landscape at Detroit Artists Market, up through Feb. 18.

Todd Weinstein @ Janice Charach Gallery

Todd Weinstein’s Stories of Influence: In Search of One’s Own Voice is at the Janice Charach Gallery in West Bloomfield, Michigan through Dec. 7.

Install image, Stories of Influence: In Search of One’s Own Voice is at the Janice Charach Gallery in West Bloomfield, Michigan. 2022

Photographer Todd Weinstein’s Stories of Influence: In Search of One’s Own Voice is a high-concept show that employs a delightful gimmick – Weinstein pairs 68 of his photos with a corresponding image from one of his numerous mentors, teachers and friends, and then mats and frames the two together. It’s a career retrospective with punch, and will be up at the Janice Charach Gallery in West Bloomfield’s Jewish Community Center of Metropolitan Detroit through Dec. 7, 2022.

A commercial and artistic shutterbug who grew up in Oak Park, Weinstein had a gift as a youngster for talking his way into jobs with great photographers, some of whose influence he honors with this exhibition. He got an early start after dropping out of the old School of the Detroit Society of Arts and Crafts (now the College for Creative Studies), and approaching legendary auto photographer Dick James to ask if he needed an assistant. “How about third-assistant?” James responded. No fool he, Weinstein grabbed the chance.

Like so many young artists in the 1970s, he ultimately left Detroit in the 1970s to make his way in New York’s hurly-burly, and, as it happens, thoroughly succeeded. Weinstein’s got a thriving photography and multi-visual practice, and lives in one of Brooklyn’s handsomest old rowhouse neighborhoods, Boerum Hill.

Among other virtues, Weinstein appears to have an admirable gift for gratitude. The idea of pairing one of his photos with that of an esteemed teacher, mentor or friend as a way of paying tribute struck him when he was in Paris several years ago. Weinstein brought it up with Charach director Natalie Balazovich, and she was immediately enthusiastic, finding it refreshing and new. “Todd’s essentially saying ‘This is why I’m where I’m at,” she said, “’because of these people.’” She added, “I like that the show dives into almost a taboo subject – sharing the things that pushed him to become who he is, and showcasing them.”

Todd Weinstein, Two Lady’s, New York City, NY, c. 1973; Mel Dixon, 19th Street Studio, New York City, NY, c. 1970.

A professional who helped Weinstein in his early New York days, when he was sleeping on a friend’s floor for eight months, was commercial photographer Mel Dixon. One of the first Black fashion photographers to go out on his own some 50 years ago, Dixon had a glittering background – he’d worked with photo greats Avedon and Hero. He offered Weinstein his first job in the big city, working in the studio on commercial and advertising projects.

“Mel gave me the chance,” Weinstein said. “We shot luggage, brides. All that kind of stuff.” He wasn’t really that interested in studio work, but it gave him the opportunity to earn a living while exploring other paths for his future.

The image Dixon contributed to the show is a black-and-white study of a girl. Her shoulders and face are completely dark, while her broad, white hat catches all the light in the frame. It’s elegant, high-class, high-fashion photography.

In his artist’s statement, Weinstein notes that in pairing images he relied on the structures of jazz – employing a sort of visual syncopation, as it were. You clearly see that in his rejoinder, the 1973 Two Lady’s, New York City, NY. It, too, is a fashion study — this time of two models facing away from us, one lithe and Black, the other short and white. Both are wearing headdresses that fall like curtains down to their shoulders. The white girl has a hand on the other’s back, which prompts her to twist her head around in apparent rapture.

Todd Weinstein, Brooklyn Bridge, New York, NY, c. 1980s; Bob Day, Manhattan Bridge, New York, NY, 1980.

Another significant mentor was painter and photographer Bob Day. The two went into business together on Manhattan’s East 17th Street half a century ago, “back when you could get a 6,000-square-foot studio for like $300 a month,” Weinstein said. Day’s 1980 image, Manhattan Bridge, NY, NY, is a powerfully compressed telephoto shot. Day frames the very top of the Manhattan Bridge, a lush blue-green, sharply etched essay in cross-bracing around a central gothic arch. Looming in the near distance – unrealistically large, thanks to the powerful lens — is a gray and gold Empire State Building seen through the bridge’s vertical suspension wires. It lends immensely satisfying balance to the drama of the bridge crown in both shape and color.

By contrast, Weinstein’s Brooklyn Bridge, NY, NY is grittier. A close shot of a taxicab takes up most of the frame, the vehicle’s “Off Duty” crown lit and glowing. The aesthetic is ordinary and everyday — even the Brooklyn Bridge rising in the distance looks a little dull. All the print’s visual power, which is considerable, comes from the illuminated “Off Duty” sign that, alone out of the entire shot, glows with a warm light, and whose shape echoes the tops of the two bridges.

Julian Teachworth, Untitled, 1997; Todd Weinstein, Little Ninja, Brooklyn, NY, 1973.

Not all of the images contributed by mentors are photos. In one, Weinstein pairs his picture of what looks like a collapsed, rainbow-striped mylar balloon on the street with painter Julian Teachworth’s amusing and gorgeous abstract of many colors, an untitled work from 1997. Here Weinstein riffs on the similarity in colors and the loopy geometry present in both. “I photographed all of Julian’s paintings,” Weinstein said. “He’s an incredible painter, mentor and spirit.”

There’s something undeniably spiritual about the twinned images by Weinstein and the great photographer of the Civil Rights movement, Dan Budnik. The latter’s photo, ‘Do-Right Rogers’ on the Selma to Montgomery March, March, 1965 is a classic of the genre, and one that Weinstein says he recalls from childhood. A skinny, African-American youngster marches down an endless dirt road, carrying a pole with a large American flag that’s unfurled in all its red, white and blue glory. The association of deep patriotism with individuals who still had to fight a for their rights is palpably moving.

Todd Weinstein, Mural, Detroit, 2019; Dan Budnik, ‘Do-Right Rogers’ on the Selma to Montgomery March, March 1965.

For his part, Weinstein gives us a black-and-white mural in Detroit on a brick wall honoring the late Daisy Elizabeth Elliott, a champion of Black rights who died in 2015. The quote next to her portrait, in which she cites her willingness to die in the fight for civil rights, is powerful and unexpected – a bit like this show.

Todd Weinstein, Cloud over Manhattan, New York, NY, 2008.

Stories of Influence: In Search of One’s Own Voice is at the Janice Charach Gallery in West Bloomfield through Dec. 7.

Page 2 of 9

Powered by WordPress & Theme by Anders Norén