Category: Furniture

How We Make the Planet Move: The Detroit Collection Part I @ Cranbrook Art Museum

On November 29, 2024

In Assemblage / Collage, Ceramic, Furniture, Installation, Mixed Media, Paintings, Textile

An installation photo of How We Make the Planet Move: The Detroit Collection Part 1 at Cranbrook Art Museum through March 2, 2025 (Courtesy Cranbrook Museum of Art, PD Rearick; subsequent photos by Detroit Art Review).

There was a time, decades ago, when Cranbrook held itself at a careful remove from the city of Detroit, only 18 miles distant, but light years away. Anne Morrow Lindbergh, who spent two happy years in the early forties at the Academy of Art while Charles helped Henry Ford convert the Willow Run plant from auto to bomber production, called it “the Ivory Tower sitting on the outside of the volcano of Detroit.”

In recent years, that relationship changed dramatically – a shift epitomized by the current exhibition, How We Make the Planet Move: The Detroit Collection I, at Cranbrook Art Museum through March 2. The museum has been energetically acquiring art by contemporary Detroit artists, and since 2014 has amassed over 300 works, of which 30-odd are currently on display. The show includes young artists like Sherri Bryant and Matthew Angelo Harrison, as well as the late, beloved Gilda Snowden, and Cass Corridor greats Michael Luchs, Nancy Mitchnick and Gordon Newton. “This was a substantial gear shift in our focus,” said chief curator Laura Mott, “to be a storyteller of Detroit art, and I think that’s an important role.”

Charles McGee, Play Patterns II, Fabrics, paper, the artist’s hair, paint and enamel on Dibond attached to wood frame, 120 x 240 inches, 2011.

Their biggest acquisition, both in price and size, was the late Charles McGee’s Play Patterns II from 2011, a dazzling, colorful canvas starring spindly, hieroglyph-like figures that’s a close cousin to the artist’s 1984 Noah’s Ark: Genesis at the Detroit Institute of Arts.

Over an 80-year career, McGee – named the Kresge Foundation’s first Eminent Artist in 2008 – produced a mountain of work ranging from the severely geometric to idiosyncratic figurative portraits and highly stylized abstractions, both in painting and sculpture, that formed much of his later work. A good example of the latter is the black-and-white United We Stand outside the Charles H. Wright Museum of African American History. McGee died in 2021 at 96.

Joshua Rainer, The Flying Dream, Oil on canvas, 46 x 102 inches, 2023.

Mott says she first included a painting by Joshua Rainer at the Art Museum in Skilled Labor: Black Realism in Detroit, which closed last March, without knowing that he was an Art Academy student. Indeed, he’s the first enrolled student to appear in a non-student exhibition at the museum. Mott says artist Mario Moore, who co-curated Skilled Labor with her, “calls Rainer ’the human printer’ because his skill level is insane,” noting that the portrait of his grandmother in Skilled Labor was often mistaken for a photograph.

Rainer’s piece in Detroit Collection is The Flying Dream. It’s less photo-realistic and moodier, an evocatively colored work in grayish pinks and dull orange, in which a body – presumably the artist – is suspended horizontally in mid-air, face down. The unexpected hues give it an undeniable dream-like quality, an image halfway between believable and hallucinatory. But in ways that are hard to explain, the painting’s dominant impression is one of a profound, mesmerizing stillness.

Ed Fraga, 229 Gratiot, 35 x 35 x 3 inches, 1986.

Ed Fraga, a 2009 Kresge Artist Fellow, has produced a rich oeuvre that mostly wanders the subconscious, delving both into the psychological and the spiritual, with results that are enigmatic yet oddly beguiling. In considering the Wayne State University grad’s relationship to his audience, Steve Panton in Essay’d speculated that, “Perhaps at times it is closer to the artist as magician, encouraging the viewer to suspend disbelief, and see more mystery in the world.”

“Mysterious” is certainly the word for 229 Gratiot, a collection of small portraits a bit like a whimsical two-dimensional closet of curiosities. They range from an apparent saint whose halo divides into concentric circles, a luminous female fetus floating on an azure square, a palm bearing stigmata, and a tiny cameo of the kneeling Land-o-Lakes butter maiden. Typical of much of Fraga’s work, it’s a bit dizzying and elusive but an awful lot of fun to study.

Jack Craig, Molded Carpet Chair, Green; Molded carpet, wood, fabric; 32 x 22.5 x 21 inches, 2024.

Leaping genres, one creative endeavor the Academy of Art has always been known for is chair design, starting with Eero Saarinen and Charles Eames’ molded plywood chairs that took first place for seating in the 1941 Organic Design for Home Furnishings competition at the Museum of Modern Art. Along with other Academy designers of that era like Ralph Rapson, Florence Knoll and Harry Weese, Cranbrook’s output revolutionized the look of the American home and office, and made U.S. modernist design a world leader.

Continuing that grand tradition, but giving it a more artsy, less functional, spin is Jack Craig’s Molded Carpet Chair, Green, which was also exhibited at the David Klein Gallery in a solo show that closed in October, and included a number of other phantasmagorical pieces. Mott notes that the early Eames and Saarinen works went into commercial production, but with recent Academy alumni like Craig and Chris Schanck, “you see more of an art design. Molded Carpet Chair is not going into production,” she said. “These are exquisitely made art objects that suggest function,” rather than exhibiting it. In the case of Molded Carpet Chair, the result is a lush object that feels more organic than structural, with all sorts of exuberant, textured excrescences sprouting on it.

A companion show on the Art Museum’s first floor is Toshiko Takaezu: Worlds Within, which runs until January 12, 2025. One of the world’s most-celebrated ceramicists, Takaezu died in 2011 and had a most-astonishing biography. Born into an impoverished Japanese immigrant family on a remote part of Maui, Takaezu was the sixth of 11 children and had to quit school at 15 to work as a housekeeper in Honolulu to help support her family. But luck was on her side – when the family left during World War II, she got a job at the Hawaiian Potters Guild. Ultimately, she studied ceramics part-time at the University of Hawaii at Manoa under Claude Horan, whom Takaezu called the father of Hawaiian ceramics.

Toshiko Takaezu, Light, Porcelain, 1970.

The turning point in Takaezu’s life came when she saw pieces by Maija Grotell, who was the head of ceramics at the Academy of Art. Never having traveled to the mainland, Takaezu made her way to Michigan, applied to Cranbrook, and got in. That not only supercharged and refined her touch with clay, but also started her on an academic path that landed her eventually at Princeton University, where she was a longtime professor and inspiration to generations of ceramicists.

Takaezu’s artistic genius spanned numerous genres. She not only worked in ceramics, but also weaving, painting, bronze casting and printmaking, displaying remarkable finesse in each. Part of the pleasure of this career retrospective, organized by The Isamu Noguchi Foundation and Garden Museum in New York, is that there are examples from all these various disciplines on display.

But most remarkable are her signature creations, the “closed vessels,” like Light in the image above — essentially large pots that suggest a mouth or opening at the top but, on examination, turn out not to be there. This ability to both suggest a vessel while at the same time denying it is part of what gives the artist’s work its profundity. These pieces are, as the exhibition’s biographical panel notes, “abstract paintings in the round.”

Toshiko Takaezu, Gaea (Earth Mother), Stoneware, 1979-90.

How We Make the Planet Move: The Detroit Collection Part 1 – is at Cranbrook Art Museum through March 2, 2025. Toshiko Takaezu: Worlds Within will be up through January 12, 2025.

Many Voices: The Fine Art of Craft @ BBAC

By K.A. Letts

On May 16, 2022

In Ceramic, Drawing, Fiber, Furniture, Metal, Mixed Media, Photography, Printmaking, Sculpture, Textile

Installation image, Many Voices: The Fine Art of Craft @ BBAC

If there ever was a bright line of distinction between what we call contemporary fine art and what is now considered to be craft, that line has long ago been crossed and obliterated. The mixed bag of artifacts on display in the exhibition at Birmingham Bloomfield Art Center from May 6 to June 2 illustrates this, with a range of objects and images that contrast the useful with the expressive, the carefully crafted with the emotionally contingent. “Many Voices: The Fine Art of Craft” takes us on a tour of the increasingly porous borders between objects that can claim to be fine art, but qualify as craft only because they refer tangentially to traditional crafts and finely handmade objects that are intended for utilitarian purposes.

Wall Vessel V, Constance Compton Pappas, unfired clay, cedar

Balanced, Constance Compton Pappas, cedar, plaster, clay

The objects in the exhibition fall roughly into two categories. Works by artists such as Constance Compton Pappas, Dylan Strzynski, Sandra Cardew and Sharon Harper privilege the expressive properties of the materials and push them to the limits of their identity. Often there is a toy-like mood to this work. Any pretense to utility is deeply submerged beneath the artists’ emotionally poignant themes. Pappas’s wall-mounted, naturally irregular wooden shelves support clay objects that only refer to vessels, and certainly were never intended to function. They are signs for cups and the considerable pleasure to be derived from them rests upon their rough, stony texture contrasted with the irregularities of the wooden support. Elsewhere in the gallery, Pappas uses the abstract shapes of 3 cast plaster houses, again placed on a raw wood pedestal in a stack, entitled Balanced, that implies a state of wonky precarity. Dylan Strzynski’s playful, barn-red house model, Attic, made of wood, sticks and wire, suggests a kind of Baba Yaga cottage on legs, poised to jump off its pedestal in pursuit of the viewer. Sandra Cardew’s Boy with Broom continues the preoccupation with play. The subdued color and rough fabric of the golem-child is both a little funny and a little ominous. Sharon Harper’s Pink Trailer makes an interesting kind of mini-installation by hanging a 2-dimensional photo landscape on the wall behind a diminutive clay trailer, suggesting the possibility of travel through wide open spaces.

Attic, Dylan Strzynski, wood, paint, sticks, wire, string

Sandra Cardew, Boy with Broom, mixed media assemblage

Danielle Bodine’s wall installation, Celestial Dance, offers a floating population of tiny woven wire and paper elements that might claim to be plankton or might be satellites. Whatever they are, their yellow starlike shapes weightlessly orbit a larger, spiky planetary body, and cast lively shadows on the wall. The basketry techniques that Bodine has employed for nearly 20 years allow her complete freedom to invent these minute entities in three dimensions.

Sharon Harper, Pink Trailer, low fire clay, photograph

The fiber artist Carole Harris, who has several works in the show, continues to be in a class by herself. From her beginnings as a more conventional quilter, Harris has traveled far and wide, taking inspiration from Asia, Africa and beyond. Her carefully composed, expressively dyed and stitched formal abstractions are emotionally resonant and reliably satisfying. The artist employs a mix of fabrics and papers, along with hand-stitching and applique, with the easy virtuosity of long practice.

Danielle Bodine, Celestial Dance, mulberry and recycled papers cast on Malaysian baskets, removed, stitched, painted, stamped, waxed linen coiled objects, plastic tubes, beads,

Carol Harris, Yesterdays, quilted collage

Russ Orlando’s pebbly pastel ceramic urn-on-a-table, Finding #171, is covered by contrasting buttons and frogs wired to the substrate. The vessel evokes a friendly presence: it wants to know and be known.

Two artists in “Many Voices,” Lynn Avadenka and Karen Baldner, are masters in the craft bookmaking/printing, whose work perfectly balances function and form, though to different ends. Baldner’s snaky, wiggly rice paper centipede of a book, Letting Go, shows how exquisite technique can pair with creative expressiveness to yield an original effect. The restrained elegance of Lynne Avadenka’s handmade screen Comes and Goes III demonstrates that utility and esthetic pleasure need not be mutually exclusive.

Karen Baldner, Letting Go, piano hinge binding with horsehair, mixed media print transfers

Lynne Avadenka, Comes and Goes III, unique folding screen, relief printing, letter press, typewriting, book board, Tyvek

Among the objects in this collection, Colin Tury’s handsome, minimalist metal LT Chair hews closest to traditional ideas of craft, as does Cory Robinson’s smoothly crafted side table, which looks as if it belongs in a hip, mid-century bachelor’s lair.

Colin Tury, LT Chair, aluminum, steel

Cory Robinson, Canberra Table, American black walnut

In this time and place, and as illustrated by the artists in “Many Voices,” the categorization of an object as “art” or “craft” has become less and less useful. Historically, crafts based on highly technical knowledge—ceramics, fiber glass and the like –have been assigned a lesser status because of their identity as objects of utility. It is undeniable too that many of these crafts were practiced by women, which devalued them in the estimation of collectors and galleries. Fortunately, those preconceptions are receding into the past, as artists progress toward a future that is more open to new forms and voices, new materials and subjects.

The artists in “Many Voices: The Fine Art of Craft” are: Kathrine Allen Coleman, Lynne Avadenka, Karen Baldner, Danielle Bodine, Sandra Cardew, Candace Compton Pappas, Nathan Grubich, Christine Hagedorn, Sharon Harper, Carole Harris, Amanda St. Hillaire, Sherry Moore, Russ Orlando, Cory Robinson, Dylan Strzynski, Colin Tury.

Many Voices: The Fine Art of Craft at the Birmingham Bloomfield Art Center runs until June 2, 2022.

Design Highlights and American Perspectives @ GRAM

By Jonathan Rinck

On July 23, 2021

In Ceramic, Design, Furniture, Installation, Mixed Media, Paintings, Sculpture

Design Highlights from the Permanent Collection, installation photo.

Grand Rapids is home to some of the Midwest’s finest contributions to applied art and design, particularly in the furniture industry, and the Grand Rapids Art Museum holds a muscular collection of applied arts, much of which comprises the exhibition Design Highlights from the Permanent Collection. This is a show which brings together work from 20th Century megastars, but also artists and designers who remain completely unknown. Filling the GRAM’s first-floor gallery suite, all these works stand as examples of how artists have sought to bring beauty into everyday life.

The works in this show represent a synthesis of decoration and function, and the distinction between the two is frequently blurred. It’s a point emphatically made by the inclusion of a ceramic plate, some vases, and a set of cups designed by Picasso for Madoura Pottery in France, all adorned with whimsical vignettes rendered in the artist’s abstract style.

Some of these works explore design for its own sake. There are several lithographs in which Alexander Calder simply plays with basic abstract arrangements of shape, form, and color. And an iridescent, blow-molded acrylic wall-hanging by Gisela Colon is similarly non-functional, but in its luminescence and simplicity speaks to the potentiality of design alone to capture the viewer’s interest even in the absence of conventional subject matter.

Ovoid Glo-Pod (Iridescent Lilac), Gisela Colon, 2016. Design Highlights from the Permanent Collection, installation photo

But the overwhelming majority of works here exemplify functional design, ranging from furniture, cutlery, advertising, household appliances, and electronics. A display case housing personal electronic devices underscore the rapidity of the evolution of technological design. An ensemble comprising several 1950s-era radios, an AM/FM Walkman, a cassette player, a TV, and some cameras is now collectively obsolete, rendered so by the advent of the smartphone.

Grand Rapids is famous in the Midwest for its contributions to furniture design, and visitors to the GRAM can count on several iconic examples of 20th-century furniture always being on display. These often articulate the point that, like technology, furniture design can also substantially shift and evolve over a relatively short time. Here, there are some pieces by Gustav Stickley, Ray Eames, and Charles Eames. Certainly, the most visually striking pieces are the zainy, sculptural chairs produced by the Westnofa Workshop which manage to re-define the notion of what a chair even is.

Design Highlights from the Permanent Collection, installation photo.

Similarly blurring the distinction between the beautiful and the functional, a concurrent exhibition features 80 works on loan from the collection of the American Folk Art Museum. This large exhibit fills most of the GRAM’s spacious second-floor gallery suite. By its nature, folk art is eclectic and perhaps hard to define, but these works collectively make the point that folk art has the capacity to be punchy, pertinent, and socially engaged.

American Perspectives: Stories from the American Folk Art Museum Collection, installation image courtesy of the Grand Rapids Art Museum.

American Perspectives: Stories from the American Folk Art Museum comprises a varied assortment of media, and amplifies voices that have been traditionally absent from museum spaces. One of the most moving examples is a ceramic vase by David Drake, an enslaved African American who created an estimated 40,000 works of pottery in his lifetime, invariably signing them “Dave” and often inscribing witty rhyming couplets on their surfaces. His signature features prominently on the side of the vase, asserting his personhood and creative agency in triumphant defiance of the dehumanizing institution of slavery.

David Drake (c.1800–c. 1870).Jug,1853.Alkaline-glazed stoneware,14 1/2 x 12 x 11 1/2 inches.CollectionAmerican Folk Art Museum, New York, Gift of Sally and Paul Hawkins, 1999.18.1.Photo by JohnParnell.

Harnessing an entirely different media, the Grover Cleveland Quilt similarly amplifies a disenfranchised voice, the patches of the quilt declaring its anonymous creator’s support for Grover Cleveland’s candidacy approximately forty years before the vote was extended to women. Created almost exactly a century later, Jessie Telfair’s Freedom Quilt is a monument to the hard-fought rights secured during the Civil Rights Movement.

Jessie B. Telfair (1913–1986)Freedom Quilt,1983.Cotton,with pencil,74 x 68inches.CollectionofAmerican Folk ArtMuseum, New York,Gift of Judith Alexander in loving memory of her sister, Rebecca Alexander, 2004.9.1.Photo by Gavin Ashworth, New York.

Work by immigrants to America features prominently in the show. A visual centerpiece of the exhibit is Mariano Ariti’sArchitectural Palace, a model for a hypothetical museum celebrating human innovation. An Italian immigrant to the United States, he envisioned this colossal structure to stand in Washington D.C., and if realized, the building would have been as tall as Dubai’s Burj Khalifa. Its ambitious scale speaks to the artist’s optimistic vision of the nation’s capabilities.

American Perspectives: Stories from the American Folk Art Museum Collection, installation image courtesy of the Grand Rapids Art Museum.

Born to a family of immigrants in the Bronx, Ralph Fasanella’s Workers Holiday portrays the city’s working-class masses headed to Coney Island as a momentary escape from the daily grind, and indirectly speaks to his impassioned interest in worker’s rights. Not incidentally, just a few feet away from Fasanella’s painting is an original wooden carousel horse, itself a form of handcrafted folk-art, from the merry-go-round at Coney Island amusement park.

This is an ambitious pair of exhibitions, given that they bring together an eclectic assortment of art and design which we might not conventionally think of as museum art. As different in form and content as both of these exhibits are, together they bring together non-traditional media which assertively makes the point that visual culture isn’t simply the stuff of sterile and hushed museums and galleries, but that craft and design can frequently burst into real-world, real-life spaces.

Design Highlights from the Permanent Collection runs through August 14, 2021, and American Perspectives: Stories from the American Folk Art Museum runs through August 28, 2021.

With Eyes Wide Opened @ Cranbrook Museum of Art

By K.A. Letts

On July 9, 2021

In Ceramic, Design, Furniture, Jewelry, Mixed Media, Paintings, Photography, Printmaking, Sculpture, Textile

Cranbrook Museum of Art, With Eyes Opened, Sculpture Court and Mixing Chamber, installation, photo: PD Rearick

With Eyes Opened: Cranbrook Academy of Art since 1932 has just opened at the Cranbrook Museum of Art in Bloomfield Hills, to great acclaim and national attention. Covered by the New York Times Magazine with a spiffy video tour and ample media attention both local and national, it’s a hydra-headed beast of a show with many sponsors but no single curator. Objects and images from every period of the Academy’s history compete for space and attention, with no fewer than ten dueling accounts threaded throughout the museum’s seven galleries.

The organizers seem to have had difficulty settling on a single narrative for this exhaustive survey of the Academy’s history–and no wonder. The tapestries, sculptures, paintings, prints, photographs, product prototypes and mass-produced products tell a kaleidoscopic story of the many creative minds whose vision and creativity have emanated from the school over time.

The history of this premier American art institution is told through objects in only piecemeal fashion in the physical exhibit; the accompanying printed volume, a 624-page doorstop of a book, contains a more complete narrative of the school’s history, along with one-page profiles of many (though not all) of the artists and designers represented in the show.

Untitled (Aluchair) by Christopher Schanck (MFA, 3D Design 2011), 2019, aluminum foil, resin Collection Cranbrook Art Museum

At the entrance to the main gallery, visitors can watch American Look. Commissioned in 1958 by Chevrolet, this cold war artifact celebrates many of the post-World War II designed amenities that were newly available to middle class consumers of a certain limited demographic. Throughout the celebratory video, the “American-ness” of the consumer lifestyle is promoted relentlessly. Even though the uncritical materialism may seem cringe-worthy to a modern viewer, the optimism and can-do mentality expressed in the video amply show why the period beginning in 1950 is often called the American Century. The film provides a good starting point for With Eyes Opened, which takes us on a visual tour not only of the mid-century American esthetic, but also, by implication, through a consideration of how those perceptions and values have grown and changed over time to include contemporary preoccupations with equity, diversity and sustainability.

Model 1601 Stacking Chair by Don Albinson (Cranbrook Academy of Art Sculpture, 1940-1941), 1965, aluminum, nylon, molded plastic. Photo PD Rearick

The video serves as an introduction to one of the more successful elements of the exhibit, which celebrates the modern chair. Designers like Charles and Ray Kaiser Eames and Don Albinson were uniquely successful at conceptualizing and producing practical, relatively inexpensive and attractive mass production chairs, many instantly recognizable today as fixtures of modern life in home and office. The chair as a concept unifies this display; in addition to the mass produced chairs there are a number of hand-crafted, one-of-a-kind examples such as Chris Schank’s Alufoil Chair and Terence Main’s Queen Anne, Queen Anne doubled chair. Here, as throughout the exhibit, the organizers have decided to mix the mass-produced and the hand-crafted, without comparing or contrasting the purposes and philosophies involved.

Cranbrook Museum of Art, Sculpture Court, installation. Photo: DAR

The physical and esthetic center of the exhibition, which brings the concept of design and art to a satisfying apotheosis of the handmade and the mass-produced, comes in the Mixing Chamber. There, the room-sized mural of black and white figures by Cleon Peterson suggests the sensibility of a 21^st century Egon Schiele. Tortured, semi-nude bodies surround the wittily conceived bench by Vivian Beer, whose automotive-painted red drape on the slipper shape is at once modern and baroque.

Untitled (Asthma, High Blood Pressure) by Beverly Fishman (Artist-in-Residence, Dept. of Painting 1992-2019) 2018, urethane paint on wood. Photo: PD Rearick

In the adjacent North Gallery, 34 paintings, works on paper and photographs hang floor to ceiling, with abstraction as the ostensible unifying theme. The hanging of contemporary art salon style is a fraught strategy that calls for sensitively selected and carefully coordinated curation and enough space around each piece to allow the work to breathe. Here the disparate artworks compete visually, like guests at a crowded cocktail party shouting to be heard. Beverly Fishman’s brightly colored, sharp-edged geometric polygons (almost) hold their own, and McArthur Binion manages to succeed simply by installing a painting, DNA: Study (Lake St. Clair), too large to share the space with other artwork. As worthy as each piece in the gallery may be, a little editing would have been welcome.

Untitled by Rebecca Ripple (Artist-in-Residence, Dept. of Sculpture, 2017-present) 2016, plastic, aluminum brass, photocopy, pencil, hair, champagne foil. Photo: K.A. Letts

In the Sculpture Court, through the Mixing Chamber ‘s other doorway, Nick Cave’s exuberant SoundSuit (2012) holds the floor, with a recessive companion, Flamer, by Mark Newport, hanging on the adjacent wall. Duane Hanson’s provocatively banal figure lounges nearby, unimpressed. Other strong work in the sculpture court includes several fiber pieces which seem to have wandered in, perhaps to provide space between the large and diverse 3-dimensional works–not a bad idea as it turns out. The white-on-white tapestry Montana 30, by Colombian artist Olga de Amaral, made up of small squares of white painted canvas relieved with touches of red, is especially welcome here. Sculptures by artists of the past such as Marshall Fredericks and Carl Milles share the space, more or less peacefully, with artworks by younger artists like Tyanna Buie and Kate Clark. Toward the back of the gallery, James Surl’s spiky mobile floats in its own private galaxy, next to a terrific assemblage by Rebecca Ripple that radiates an ad hoc starburst of Miro-esque energy.

Auburndale Site, Detroit MI (#4) by Object Orange, 2006, archival color photograph, 1/25 Cranbrook Museum of Art. Photo: K.A. Letts

In a small side gallery near the elevators, three photographs by the art collective Object Orange deliver a moment of surreal surprise. From 2005-2007, these (anonymous) Cranbrook graduates undertook a conceptual project called Detroit, Demolition, Disneyland which involved painting–in “Tiggerific” Orange– derelict structures in the city as a form of both public performance and protest. The photographs, brilliant orange structures against bleak gray backgrounds, are arresting, unexpected and a bit melancholy.

Cranbrook Museum of Art, With Eyes Opened, Object Islands, installation, Photo: PD Rearick

The Wainger Gallery, last stop on the main floor galleries, features a clever installation of “object islands,” table height circular plinths that subtly guide the viewer through a broad array of fairly small- scale ceramics, metal objects and product design prototypes. Many of the objects in this gallery are one-of-a-kind art objects in a variety of media, often in unusual combinations, such as Iris Eichenberg’s untitled brooch made of porcelain, silver and linen.

With Eyes Opened takes on a lighter tone in the museum’s lower level gallery with The Menagerie, a whimsical collection of figures and objects inspired by the natural world, from Marshall Frederick’s chunky Two Bears to Stephen Malinowski’s photograph Cafeteria, a surreal bison-in-a-dining room. The playful theme of The Menagerie is echoed nearby with a small collection of toy and playground designs that, while welcome, seem like an afterthought.

In the adjacent hall gallery, prints and posters highlight Cranbrook’s influential graphic design program. Installed next to printed media that feature collage, photomontage and progressive typography, several unique works hint at the endless formal potential of paper as a medium. Elizabeth Youngblood’s elegant, silvery process drawing is tucked into a corner near Laurence Barker’s more exuberant hand-made paper piece. Layers from the Disemboweled Series by Winifred Lutz takes the medium into the realm of expressionism.

Yet Untitled by Elizabeth Youngblood (MFA Design, 1975) 2018, paint, mylar. Photo: Glenn Mannisto

And last–but not least–some of Cranbrook Academy’s most recent graduates inhabit the lower level deSalle Gallery with distinction. Many of these young artists currently live and work in Detroit and continue the Academy’s tradition of excellence in both craft and conception. The growing diversity of the school is on display here, pointing to a more inclusive future, now enabled by the recent $30 million gift from Dan and Jennifer Gilbert to support student diversity. Ricky Weaver’s gray and white photo-apparitions emanate spirituality, across from Ebitenyefa Baralaye’s Portrait II, a comic-sinister stoneware head. Around the corner, Marianna Olague’s painting El Pleno Dia seems to emit its own light. The emerging artists in this gallery demonstrate the continuing influence of the Academy’s alumni on the Detroit art scene and beyond.

With Eyes Opened is multi-faceted, rich and a little chaotic, more of a class reunion than a retrospective. What comes through loud and clear in this exhaustive–and sometimes exhausting–survey, though, is the Academy’s continued vitality and its ongoing relevance to any discussion of the 21^st century designed environment. And really, that’s enough.

Cranbrook Museum of Art, With Eyes Opened, deSalle Gallery, installation, Photo: P.D. Rearick.

Eyes Wide Open at Cranbrook Museum of Art through September 19, 2021