Category: Paintings Page 32 of 49

Heloisa Promfret & Neha Vedpathak Exhibition Installation image, 2018

There is definitely a synergy in the new exhibition at the N’Namdi Center for Contemporary art. These non-objective abstract works go beyond being executed by two female artists, working with unconventional material, approximately the same scale. The director of the Center fo Contemporary Art, George N’Namdi, is bringing together two artists that share a sensibility that involves an unexpected process. The exhibition opened April 13, 2018 with the work of Neha Vedpathak who works picking at Japanese paper and Heloisa Promfret who involves the palimpsest process where layers of paint are scratched to reveal paint beneath. The synergy that I speak of here is the juxtaposition of energy, both physical and psychological, creating work you cannot ignore.

Neha Vedpathak, Detroit, Plucked Japanese handmade paper, acrylic paint, thread, 70 x 68″ 2017

The large, 70 x 68” paper construction, titled Detroit, is layered in a way that allows for transparency to play a part in the composition. Neha Vedpathak uses shades of yellow that surround this broken cross and dominates the interior. She uses the term “plucking” when she picks the surface of the paper, appearing both solid and transparent, while occasionally using acrylic polymer for strength.

She says “I am drawn to paper, it is familiar, flexible and a giving natural material. I have been using Japanese hand-made paper in small parts in my paintings over the years. But since 2009 ”paper” has become the main focus of my investigation. After playing with this paper for a while, I developed a technique I call ‘plucking”. ”Plucking” is the main technique used in all my paper sculptures and installations. Here, I separate the fibers of the Japanese hand-made paper using a tiny pushpin. The resultant paper resembles a lace fabric, which I then use to make individual works.”

Neha Vedpathak, Hold Tight, Plucked Japanese handmade paper, acrylic paint, thread, 34 x 34″ 2018

The piece Hold Tight resembles a terrain map with colors differentiating borders of countries around a body of water. Here the contrasts between solid and textured surfaces are more evident. The efflorescent paper delicately creates a latticework that draws the viewer close.

Heloisa Pomfret, Untitled (Threshold Series), Oil on Canvas, 34 x 39″ 2018

When first confronted with the work of Heloisa Promfret, as in Untitled, 34 x 39” this viewer gets a feeling of seeing the cross section of a walnut when cut in half using a band saw to reveal the interior design. But on closer observation there is a transformation from this first impulse to acknowledging a more mark-making technique that involves color and texture. In what she describes as her Threshold Series we see canvasses that are cut, re-stitched, and the paint is scratched with metal blades revealing the colors below.

She says “My work is about the energy, order and chaos that occurs during
psychological or physical stress, which serve as theoretical support to the mark-making and constructs of my work. The surface is often an analogy to the body and memory, in which experience occurs and is transformed. The visual elements of the brain, along with its scientific charting and diagrams, serve as inspiration and a starting point of abstraction for paintings/drawings and installations, in both traditional and non-traditional materials.”

Heloisa Pomfret, Clarity II (Threshold Series) Oil on canvas, 33 x 53″, 2018

In Clarity II there is a strong feeling of the feminine for this viewer, almost like an embryo in its early stage of development. The dominating symmetry is something we would find in nature, like a seed, plant or early development in an insect. This flat high contrast image takes on a sense of three dimension using light and color to create a sculpted form. In addition, her work includes “Maps”, an installation of over 250 images cut from truck tire inner tubes.

Helosia Promfret’s work here, is called “Threshold”. She earned her MFA from Wayne State University in 2002. Helosia Promfret was born in Soa Paulo, Brazil, lives and works in Detroit, Michgan.

Neha Vedpathak in her work called “Of The Land”. She earned a five- year diploma in Fine Arts from Abhinav Kala Maha Vidhyala, Pune, India. She currently lives and maintains a studio in Detroit, Michigan.

These two solo shows will be on display at the N’Namdi Center for Contemporary Art through May 5, 2018.

Al Held @ David Klein Gallery

By Glen Mannisto

On April 11, 2018

In Paintings

Installation image of Al Held at David Klein with “Orion V,”1991, Acrylic on canvas,198”X192” and “Duccio VIII,” 1991, Acrylic on canvas, 108”X108” Photography provided by Robert Hensleigh

In 1979 Detroit’s Cass Corridor art scene was thriving and, while he didn’t represent what was to become the iconic Cass Corridor aesthetic, Wayne State University painting professor John Egner was making interesting art. It was that year that he painted “Burnt Umber,” which eventually was purchased by then Director of the Detroit Institute of Art, Fred Cummings, and hung in the administrative offices of the Detroit Institute of Arts for a while before eventually hanging in the Modern Galleries. “Burnt Umber” is a monumental sized, stunning oil painting of almost spiritual implications, that bridges hard edge geometric abstraction and abstract expressionism with an interesting optical element as well. Incredibly energetic and busy, it was a unique painting for the Detroit art scene and was the centerpiece of Egner’s solo exhibition at the Susanne Hilberry Gallery. It was a very visible painting to all who lived in the Cass Corridor. It was in fact a painting that inspired poets to write poems and this poet to begin writing about painting.

Al Held, “Geocentric IV,” 1990, 96”X144” and “Scand III,” Acrylic on canvas, 72”96”

Walking into the Al Held exhibition at the David Klein gallery this week, it was overwhelming to experience the imposing presence of his geometric abstract painting, “Orion V,” 1991. Immediately reminiscent of Egner’s big painting of nearly 40 years ago in its monumentality (actually the same size) it is what a Renaissance painting is supposed to be and do. Like Egner’s it is awe inspiring. Like the constellation Orion’s prominence in the night sky itself, the painting demands immediate attention and defies immediate description. Of course, like the constellation the painting looks nothing like Orion the hunter, after whom it was named, but you make it fit because that is what Held called it. It is ripe with all manner of geometric shapes and perspectives—instead of angels, cherubs and saints, hollow cylinders looming out of a distant sky, a quixotic, puzzle-shaped plane of vibrant orange, concentric rings floating in imagined ether, a pure purple triangular wedge—in fact other than a distant blue sky-like back drop, the colors seem purposely mystifying and the composition is anything but modern. The acrylic paint is seamlessly laid on like powder-coating on a custom car. Because of the strange, bottomless, topless, perspective the viewer is somehow disembodied amidst the gyre of movement in the painting. Held was inspired by the abstract formulations of Mondrian but because Mondrian was firmly planted on earth, with a stubborn horizon that wouldn’t let him escape, he eventually painted with horizontal and vertical lines. Inspired by Renaissance conceptions of the universe, Held was out in the universe where there is no up and down or in and out, and “Orion V” describes that.

Al Held, “Umbria XXIV,” 1992, watercolor on paper, 49”X 56 ½” and ”Primo V”, 1990, watercolor on paper, 49 3/16” X 57 ½”

Because of its title “Orion V” might be read metaphorically. It could be a celebratory image related to space travel, certainly prominent at the time, but, more likely it could simply be a secular version of the Renaissance vision. Defying famed art critic Clement Greenberg’s prescriptive ideas of flatness, “Orion V” thrives on and exhilarates in the illusion of deep space. It combines the minimalist elements of simple geometry with a hallucinatory landscape.

Another big canvas, “Geocentric IV,” 1990 is more readily grounded in nature, with an emerald green backdrop composed of hollow cylinders, cubes and triangles of heated up primary colors. With a title that sees the earth as the center of the universe, “Geocentric,” a confection of kitschy colors explodes this onslaught of primary forms, reductively standing in for the fundamental forms of nature. A tsunami of these primary forms seems to hurl toward us from a single point in the upper right hand corner. A collection of pinkish-brown cubes in the distant background serves as a substratum (earth?) for the foreground’s explosion of the primary forms. Held spent 1981-2 in Italy at the American Academy studying Renaissance painting and it could be that “Geocentric IV” is as close to a religious painting as he ever painted. Or perhaps more akin to a “Big Bang” Creation myth image, cascading, fluorescing red cubes join with brilliant blue cylinders surrounding a brilliant yellow triangle, cone and cube floating off into space. The classical compositions are unmistakable.

The remaining two paintings are also composed of a multicolored, seamlessly painted, arrangements of triangles, cubes and cylinders, and while they abound in hard-edged geometric shapes, there is a sense of an expressionistic energy behind their composition. There is a playfulness, then, in Held’s painting and brings with it a challenge to sort out perspective and the arrangement of shapes as if in a wilderness composed of a forest of forms.

The backrooms of the gallery include eight watercolors and a black and white painting. It is difficult to compare them to the acrylic painting but they are, it seems, from where the title of the exhibition, “Luminous Constructs,” is derived. Quite simply they exude light as if lit from within. “Umbria XXIV,” 1992, which probably takes its title from Held’s travels to Umbria, the magnificent Italian region of natural beauty and culture, is composed of a brilliant tangerine-orange, cruciform shape, constructed of various sized rectangular forms. The floor, the only reference to a built space in the exhibition, is emerald green and yellow checkered and the cruciform, has red, halo-like rings floating above and around it. The transparent glow of the watercolors give them an immediate, sketch-like or cartoon but sure-handed quality. Of course, the imagery of the forms are Held’s play on Christian iconography.

When John Egner was an entering art student at Yale University, he was placed at Al Held’s interview table. Egner told Held that he was there specifically to study with famed Abstract Expressionist Jack Tworkov. Held called over to Tworkov’s desk and said “Hey Jack this one is for you.” Egner got up and went over to Tworkov for the interview. Years later Egner told me, “I guess for many years at least if I was asked who was my favorite painter I would have replied “Al Held.” A little Detroit art history to go with a vibrant and rare view of an American master.

Al Held, “Victoria VIII,” 1991, watercolor on paper, 43 5/8” X 49 ¼” and “Plaza IV, 1993, watercolor on paper, 49 ¼”X63”

Al Held one-person exhibition at the David Klein Gallery through April 28, 2018

Jim Cogswell @ University of Michigan Museum of Art

By Jonathan Rinck

On March 12, 2018

In Installation, Paintings

Digital study for Cosmogonic Tattoos Installation at UMMA and the Kelsey Museum of Archaeology

Jim Cogswell, Digital study for Cosmogonic Tattoos, 2016. Courtesy of the artist

The images that comprise Jim Cogswell’s frieze-like mural Cosmogonic Tattoos are lyrical, fanciful, and, at times, utterly bewildering. Anthropomorphic Greek amphoras sprout legs and scurry about. A hybrid harp/boat ferries its unusual passengers – expressive, personified hands— across surging waves. And ancient-looking architectural structures rise and collapse in post-apocalyptic ruins.

Occasioned by the University of Michigan’s bicentennial, the university commissioned artist Jim Cogswell to create a set of murals celebrating the holdings of the University of Michigan Museum of Art (UMMA) and the Kelsey Museum of Archaeology. Cogswell’s mural speaks to material exchange across cultures and the necessarily distorted histories and narratives that shape when artifacts are taken out of context and placed behind glass in museum environments. It’s an ambitious and highly conceptual cycle that manages to be both playful and cerebral.

“Cosmogonies,” Cogswell explains, “are our explanations for how our world came to be.”[i] His idea of a cosmogonic tattoo is sourced in the character Queequeg in Moby Dick, who bore a tattoo on his back depicting “a complete theory of the heavens and the earth, and a mystical treatise on the art of attaining truth.”[ii] For this site-specific installation, Cogswell created hundreds of vinyl images based on his paintings of 250 objects from the holdings of the Kelsey and UMMA. Affixing them to the expansive horizontally-oriented first-floor windows of each museum, he created a frieze of images which tell an ambitiously sweeping narrative addressing the migrations of ideas, artifacts, and people.

The narrative begins on the windows of the Frankel Family Wing at the UMMA. A ship full of anthropomorphic hands (derived from paintings within the UMMA), sail across a sea in a boat toward a promontory, only to endure a series of apocalyptic natural disasters. Taking what few cultural artifacts they can carry, these travelers embark on foot to find a new home. By design, the narrative breaks, and viewers must cross State Street and traverse a block north to view the rest of the mural at the Kelsey.

Jim Cogswell, Boats and Hands, 2016. Image courtesy of the artist

Here, we see more figures on migratory journeys. Architectural structures on promontories are erected, only to be destroyed by natural forces and invasion. The figures, always on the move, carry more cultural artifacts with them, and they themselves even metamorphose into complex mash-ups of disparate elements borrowed from multiple cultures: a Roman female torso sports the head of a goose derived from a Greek wine jug, for example. The narrative is like a obius strip, and ends with migrants on the move. Cogswell didn’t conceive of the Kelsey as a destination, but rather a “roundabout,” ultimately channeling the narrative—and the viewer—back toward the UMMA.

Every character, prop, and setting in this unfolding drama comes directly from Cogswell’s digital renderings of his paintings of artifacts at the Kelsey and the UMMA. But, like Duchamp’s Bicycle Wheel, Cogswell’s images synthesize disparate elements from vastly different sources. A Greek kylix becomes the satellite dish on a radio tower, for example, and the radiating concentric rings of an Egyptian necklace becomes its transmission signals. Greek amphoras sprout wings derived from decorative Roman architectural elements. The seemingly random combination of elements calculatedly speaks to the mutability of cultural artifacts and their subjective meanings.

Jim Cosgwell, Study for Cosmogonic Tattoos, Working on site, Image courtesy of the Levi Stroud

While this sprawling horizontal collage of images seem utterly haptic, every element of the mural was impressively thought-out. For example, a rendering of Greek portrait bust from Cyprus is wittily placed on a window pane right behind the actual portrait bust itself. Like Cogswell’s own mash-ups, the bust reflects visual elements from multiple cultures (Greek and Egyptian), and even obliquely addresses migration: while the Mycenean culture declined, refugees from the mainland settled in Cyprus.

Jim Cogswell, Study for Cosmogonic Tattoos, Working on site, Image courtesy of the Levi Stroud

Cosmogonic Tattoos worthily aims to make us consider the histories of objects across space and time, and their ever-changing meanings. The British Museum’s Elgin Marbles, as a case in point, would certainly carry different associations for visitors from London than visitors from Athens. And these contemporary associations would contrast vastly from the pride and patriotism that an ancient Athenian would have felt, gazing on the same marbles in situ, wrapping, as they once did, around the Parthenon. Furthermore, America’s current changing views toward monuments to the Confederacy suggests that such change can occur even within a culture, and rapidly at that.

Admittedly, Cogswell’s mural cycle, while certainly visually engaging, might be prohibitively cryptic to anyone unfamiliar with the artist’s statement of intent and the helpful explanatory essays in the exhibition catalog (itself nicely produced and beautifully illustrated). But perhaps there’s a certain poetry to that, as it rather nicely underscores Cogswell’s metanarrative concerning the mutability of images and their meanings.

Jim Cogswell, Woman Duck, Study for Cosmogonic Tattoos, 2016, shellac ink and graphite on mylar. Image courtesy of the artist

[i] Cogswell, Jim, et al. Jim Cogswell : Cosmogonic Tattoos. University of Michigan, 2017.

University of Michigan Art Museum

African Bead Work @ Flint Institute of Art

By Jonathan Rinck

On February 14, 2018

In Paintings

Ubhule Women: Bead Work and the Art of Independence at the Flint Institute of Art

Zondile Zondo. I am ill, I still see Color and Beauty: Jamludi The Red Cow, 2012. Glass beads sewn onto fabric. 49 × 64 1/4 × 2 in. (124.5 × 163.2 × 5.1 cm). Private Collection.

In 1999, two South African women, Ntombephi Ntobela and Bev Gibson, established an artist’s community on a former sugar plantation in the rural outskirts north of Durban. The goal of the Ubuhle (Ub-buk-lay, Zulu for “beauty”) community was to use traditional bead-art as a way for women to develop a skilled trade and become financially independent. Since then, the work created by this small, tightly-knit group has experienced meteoric success and has been shown internationally, including an exhibition at the Smithsonian in 2013. Through the end of March, Ubhule Women: Beadwork and the Art of Independence ambitiously fills the spacious Hodge Galleries at the Flint Institute of Art, and is well worth the visit.

Zondile Zondo. Flowers for the Gods, 2012. Glass beads sewn onto fabric. 51 × 21 3/8 × 2 in. (129.5 × 54.3 × 5.1 cm). The Ubuhle Private Collection.

This is an exhibition that can only be experienced firsthand; the arresting luminosity of these textile and bead-works, much like the ethereal shimmer of light on a Byzantine mosaic, is entirely lost when reproduced in photographs. The Ubuhle women created a modern innovation on traditional South-African bead-art; they stretch textile (ndwango) across a canvass, into which they meticulously hand-sew tens of thousands of infinitesimal Czech glass beads. The completed result recalls Seurat’s pointillism, but enhanced with striking luster as the images reflect actual light. These ndwangos range from figurative to abstract, and the vibrant plains of color deny any sense of illusory depth. Visitors who lean in close will notice the artists frequently applied the beads in a complex array of circular patterns and spirals, another special-effect that doesn’t translate well in photographs.

Ubuhle Women comprises 30 works by five artists, and the subject matter is intensely personal, often making use of abstract symbols to reference autobiographical events. Some works pay tribute to those of the Ubuhle community who have died since its founding from HIV (about half its number); red ribbons are a recurrent motif. The time-consuming process of bead-sewing itself functions as a form of therapy and coping—just one panel can take nearly a year to complete. For the Ubuhle women, beading is both catharsis and a visceral way to make tangible the memories of those lost.

Nontanga Manguthsane. African Crucifixion, n.d. Glass beads sewn onto fabric. 177 1/2 × 275 3/4 × 16 inches (450.9 × 700.4 × 40.6 cm). The Ubuhle Private Collection & Private Collection

The culmination of the exhibition is the ambitiously-large African Crucifixion, a sprawling work comprising seven panels created by seven Ubhule women. Originally conceived as a visual focal-point for the Anglican Cathedral of the Holy Nativity in Pietermartzburg, South Africa, the work is a complex tableau that addresses specific local issues like apartheid and the HIV crisis, as well as broader, universal themes of life, death, and redemption. A suspended golden crucifix dominates the composition, flanked by a menacing Tree of Defeat (replete with vultures, representing politicians who feed off people) and the Tree of Life, comfortably situated in an idyllic, fertile landscape. In the panel depicting Mary and John at the foot of the cross, a white house in the background personalizes the image, uncannily reminiscent of Thando Ntobela’s reductive portrayal of the Ubuhle community in her 2011 work Goodbye Little Farm. The African Crucifixion is a triumphant and virtuosic demonstration of the potential of beadwork, every bit as grand and pathos-driven as an early Renaissance fresco.

Looking at these works, my initial response was to mentally liken them to comparable works of art with which I was already familiar; the bright, smack-you-with-color fauvist paintings of Matisse, for example (and there really is a resemblance). But these ndwangos, as luminous as they are allusive, pugnaciously defy any easy comparison with any equivalent in Western art. Furthermore, they represent the power of art to—in a small way—affect real social change, as demonstrated by the determined effort of the Ubuhle women who, through their craft, achieved financial independence one glass bead at a time.

Ubuhle Women: Beadwork and the Art of Independence was developed by the Smithsonian Anacostia Community Museum, Washington, DC in cooperation with Curators Bev Gibson, Ubuhle Beads, and James Green, and is organized for tour by International Arts & Artists, Washington, DC.

Flint Institute of Art – through March 2018

Romare Bearden @ N’Namdi Center for Contemporary Art

By Ron Scott

On February 5, 2018

In Assemblage / Collage, Paintings

Installation image, N’Namdi Center for Contemporary Art, All images courtesy of the Detroit Art Review

Black History Month during February is an annual celebration of achievements by African Americans and a time for recognizing the central role of blacks in U.S. history, a story that begins in 1915, half a century after the 13th Amendment abolished slavery in the United States. It was in September, the Harvard-trained historian Carter G. Woodson and the prominent minister Jesse E. Moorland founded the Association for the Study of Negro Life and History (ASNLH), an organization dedicated to researching and promoting achievements by black Americans and other peoples of African descent.

George N’Namdi’s Center for Contemporary Art opens this new exhibition in celebration of the work of Romare Bearden, an African-American artist renowned for his collages and photomontages, a technique he began to experiment with in the 1950s, establishing his reputation as a leading contemporary artist.

Romare Bearden, Cora’s Morning, Collage and Watercolor, 11 x 14, 1986

Although influenced by modernists such as Henri Matisse, Bearden’s collages also derived from African-American slave crafts such as patchwork quilts and the necessity of making artwork from whatever materials were available. In this exhibition, he uses images from mainstream pictorial magazines such as Look and Life, and black magazines such as Ebony and Jet. Bearden inserted the African-American experience, its rich visual and musical production, and its contemporary racial strife and triumphs, into his painted collages, thus expressing his belief in the connections between art and social reality. Georges Braque and Pablo Picasso introduced collage into the modernist vocabulary. As a result, Bearden located a methodology that allowed him to incorporate much of his life experience as an African American, from the rural South to the urban North and on to Paris, France.

Romare Bearden, Salome with the Head of John the Baptist, 35 x 29″, 1974

From a series of prints called the Prevalence of Ritual, Bearden reconfigured age-old stories as allegories of modern life. In John the Baptist he drew on the biblical story of Salome, who had performed a dance for King Herod that so pleased him he offered to grant anything she might ask. At her mother’s urging the young girl requested the head of John the Baptist, who had spoken out against her mother’s marriage to the king. The masklike heads of the figures in John the Baptist blend West African and Egyptian visual traditions with a narrative about vengeance and naïveté.

Romare Beraten, Mecklenburg Memories, Collage and Watercolor, 14 x 17″

Drawing upon the recollections of his Southern roots for inspiration, Bearden conjured up both his childhood memories and the shared memories of his ancestors. Bearden absorbed the traditional rituals of the church, the hymns and gospels, sermons and testimonies; as well as the traditional rituals of the family, the music of the kitchen, the outdoor wash place and fire circle, which permeated his upbringing. The work in many of these watercolor/collage pieces is the flatness of the composition combined with the strength of strong primary colors.

Bearden’s career as a painter was launched in 1940 with his first solo exhibition in Harlem and then another, four years later, at the G Place Gallery in Washington, DC, while he was serving in the Army. In 1945, shortly after his discharge, he joined the Kootz Gallery on 57th Street and exhibited there for the next three years. He then traveled to Paris on the G.I. Bill in 1950 where he studied philosophy at the Sorbonne. In 1964, he was appointed the first art director of the Harlem Cultural Council, a prominent African-American advocacy group. He was elected to the American Academy of Arts and Letters in 1972. He died in New York City in 1988.

Romare Beraten, Autumn of the Rooster, Lithograph, 18 x 24″, 1983

Romare Bearden’s museum retrospectives include those organized by the Museum of Modern Art in New York, NY (1971); Mint Museum of Art in Charlotte, NC (1980); Detroit Institute of the Arts in Detroit, Michigan (1986); Studio Museum in Harlem in New York, NY (1991); and the National Gallery of Art in Washington, DC (2003). His work is represented in public collections across the country including the Metropolitan Museum of Art, New York, Museum of Modern Art, New York, Whitney Museum of American Art, New York, National Gallery of Art, Washington, DC, Philadelphia Museum of Art, PA, Museum of Fine Arts, Boston, and Studio Museum in Harlem, NY.

Romare Bearden – through March 31, 2018

N’Namdi Contemporary Art

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