Critical art reviews of Detroit galleries and museums weekly

Category: Metal

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.

 

 

 

 

Useful and Beautiful @ Flint Institute of Art

Installation image, Two bowls, and silver setting

“Have nothing in your house that you do not know to be useful, or believe to be beautiful,” urged the great designer and social reformer William Morris to an audience in 1880.  Hardly just making a quip about interior design, Morris was being a counter-cultural thorn in the side of the Victorian capitalist and industrial establishment, whose factories churned out mass-produced artless products, and whose workers were accorded little more status than that of the machine.  Morris argued that there was a better way, and even established a workshop that taught people skilled trades in the applied arts, in which workers could harness their creative agencies while earning living wages and producing objects of quality and beauty.  This launched the Arts and Crafts Movement, the reverberations of which were felt on both sides of the Atlantic.

Paul de Lamerie, English, 1688–1751. “George II Oval Cake Basket,” 1742. Silver. 14 7/8 x 11 7/8 x 11 7/8 inches. Gift of Mr. and Mrs. William L. Richards through the Viola E. Bray Charitable Trust, 1984.23

Not all the works that comprise the show Useful and Beautiful on view at the Flint Institute of Art are the products of the Arts and Crafts Movement (though some, like those produced by Liberty & Co. or  the architectural studio of Frank Lloyd Wright, absolutely were), but they all stand in the tradition of skilled artisan craft that seamlessly integrated functionality with exquisite design.  Collectively, this diverse ensemble of work voice a triumphant rebuttal to Oscar Wilde’s quip that “all art is quite useless.”

The chronological and geographical scope of this smallish exhibition is impressively broad.  Spanning a 500-year breadth, the show presents examples of decorative arts ranging from a lavishly decorated 17th century wheellock pistol to stained glass by Frank Lloyd Wright.  A sizeable number of these works hail from non-western cultures (Asian and American Indian, specifically) which never drew a line between the fine and applied arts, as did the Western/European world.  Everything on view comes from the FIA’s permanent collection, and the FIA really is the perfect venue for this exhibit: in addition to a muscular collection of traditional “fine art,” the museum now boasts a newly opened wing that displays a world-class collection of ceramic and glass art, much of which fudges the boundary between the beautiful and the functional.

Artist Unknown, German. Fullstock High Art Wheelock Pistol, ca. 1680. Wood, steel, ivory, and mother of pearl. 16 7/16 x 4 13/16 x 1 7/8 inches. Gift of Dr. and Mrs. George H. Greidinger, 1976.

These artifacts are diverse and sometimes surprising.  A pair of engraved golden cigarette cases from Japan possesses the lavish attention to detail that we might expect instead from devotional artifacts belonging to a Constantinian-era emperor, or perhaps something unearthed from a Viking burial.  The same could certainly be said of a Celtic-inspired bowl designed by Alfred Knox for Liberty & Co. Usually the largeness of a work of art seems to grab people’s attention, but in the case of six finely-crafted tiny salt and pepper dispensers (imagine a set of tiny witch’s cauldrons, but made of silver and about the size of a thimble, replete with a tiny serving spoons), it’s precisely the smallness of this set that makes it such a tour-de-force of applied design.  A tiny pair of Sioux children’s moccasins, adorned with meticulous beadwork, is similarly arresting for their petite size.  Perhaps the most unexpected objects in the show are the set of streamline 1930s-era Art-Deco silver cutlery, custom-made exclusively for American Airlines, and intended to stress the point that travelling by airplane was the fabulous and luxurious modern way to travel (contemplate this as you attempt to pry apart your next airline meal with a semi-functional plastic spork).

Liberty & Co., British, founded London, 1875. Bowl, ca. 1900. 3 1/2 x 7 1/8 x 7 1/8 inches. Gift of Janis and William Wetsman, 2016.

Many works on view, beautiful as they are, were produced by anonymous artisans who likely never imagined their craft would one day appear in an art museum—decorative Pueblo pottery, for example, or a pewter flagon from Germany.  Nevertheless, this show does boast a selection of art-world heavyweights.  There’s a decorative ceramic bowl created in collaboration with the famed American painter Andrew Wyeth.  Viewers will also see one of the stained-glass windows designed by Frank Lloyd Wright for a home at Midway Gardens in Chicago; heavily inspired by the Arts and Crafts Movement, Wright famously custom-designed every component of a building, including light fixtures, furniture, silverware, and windows.

Artist Unknown, German. Flagon, n.d. Pewter. 12 9/16 x 4 5/16 x 6 ¼ inches. Gift of Mr. and Mrs. Keith Davis, 1972.

This exhibition rhetorically asks if there really is a meaningful distinction between the fine and decorative arts, and playfully blurs the boundary between these two categories.  It’s a question perhaps best posed by a bronze doorknocker crafted by Renaissance sculptor Tiziano Aspetti, which features a Greco-Roman inspired Venus standing in elegant contrapposto, directly quoting the famed Aphrodite of Knidos, one the most copied sculpture of classical antiquity.  At this level, distinctions between the fine and applied arts become, in the final analysis, a bit petty.

Collectively, these works serve to break down some unnecessary distinctions we’ve created to categorize the arts, but there’s an understated social element to this exhibit as well.  This show wistfully looks backward to a time before the Walmartification of culture, which invariably takes material culture down toward the absolute lowest threshold of quality and craft that people will settle for.  In its quiet way, this show suggests that technological advancement is not necessarily always progress forward, and that perhaps we shouldn’t always be so quick to sacrifice beauty for the sake of efficiency.

Useful and Beautiful exhibition at the  Flint Institute of Art through July 26, 2020

 

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