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Quiet As It’s Kept @ Whitney Biennial 2022

Whitney Museum of Art Biennial 2022, Installation image

The Whitney Biennial is the longest-running survey of American art and has been a hallmark of the Museum since 1932. Initiated by the Museum’s founder Gertrude Vanderbilt Whitney as an invitational exhibition featuring artwork created in the preceding two years, the biennials were originally organized by medium, with painting alternating with sculpture and works on paper. Much has evolved over the years and this year the Biennial comes after being postponed because of the pandemic. The spaces here contrast significantly, acknowledging the acute polarities in American society. One floor is a labyrinth, a dark space of containment and another is a clearing, open and light field. The subtitle of this year’s Biennial is Quiet as it’s Kept, is a colloquialism.  The quote comes from the writer Toni Morrison and is said prior to something, often obvious that should be kept a secret. The curators, David Beslin, and Adrenne Edwards have been entrusted with making the exhibition that resides within the Museum’s history, collection and reputation. This is the 18th iteration and continues to function as an ongoing experiment.

Denyse Thomasos, Displaced Burial/Burial at Gorée, 1993.

The sixth-floor section of the Biennial opens with two large-scale abstract works by the late artist Denyse Thomasos, who died in 2012 at 47. For these striking works, Thomasos was interested in creating the sense of claustrophobia felt by enslaved people crossing the Atlantic crossing and inmates being held in prisons. Her goal was “to capture the feeling of confinement,” she once said, per the wall text, as a way to explore how structures like ships and prisons have “left catastrophic effects on the Black psyche. Her black and white overlapping grids create a feeling of claustrophobia and captivity. There are two twin paintings presented here as the viewer enters a space that is entirely black. Most of this floor is divided up into rooms (all black) that serve as viewing rooms for art videos.

Rebecca Belmore’s sculpture, “ishkode (fire),” 2021

At the Whitney Biennial, center, the Indigenous artist Rebecca Belmore’s sculpture, “ishkode (fire),” 2021, made from clay and bullet casings.  The Anishinaabe artist Rebecca Belmore—who was the first Indigenous artist to present Canada at the Venice Biennale, in 2005—made this commanding ceramic sculpture from a sleeping bag cast in clay and surrounded it with an arrangement of empty bullet casings. The work, a critique of the historic genocide and ongoing disproportionate violence against Indigenous people, is a centerpiece of the sixth floor of the exhibition, illuminated from above in the otherwise darkened space. “The work carries an emptiness,” the artist writes. “But at the same time, because it’s a standing figure, I’m hoping that the work contains some positive aspects of this idea that we need to try to deal with violence.”  In the background, Guadalupe Rosales’s photographs of East Los Angeles, 2022.

Daniel Matinez, Post Manifesto for the Future, 2022

There are five photographs that document what Daniel Joseph Marinez has described as “radical performative experiment of becoming post-human and the evolution of a new species.” Martinez used his own body to interrogate and bear witness to the extraordinary moment in human history, our own self-destruction.”  The recent abstract paintings on view here involve a process of accumulation in which the surface of the canvas is constructed of sweeping gestures, letters, drips, splatters, and moments of erasure is a reflection of how we evolve in life.  The black and white silkscreened work of marks and impressions tries to articulate who we are or who we might be at any given moment: a kind of visual poem or disruption.

Adam Pendelton, Untitled 2021

Ralph Lemon is an interdisciplinary artist who works primarily in performance and has made drawings throughout his life.  For the Biennial he has created a choreography of work that is presented in a group and moves throughout the exhibition in a circle.  Every so often the work moves to a new position in the collection. Themes range from elaborate visual mediations and the nature of the artistic process itself to experiments refracting Black American culture, icons, music, and joy.  It is fair to say this is an installation of images that changes its position during the exhibition.

Ralph Lemon, One of several from an untitled series, that changes. 2022

There are five paintings by Jane Dickson who shares the hopes and aspirations that commercial signs convey both in contemporary suburban spaces she photographed in New York City during the 1980s.  The Motel is one of the five.   Dickson’s careful depictions suggest that certain violence comes with making generalizations in the writing off of those who lead their lives in the areas that are frequently overlooked or dismissed. In her statement she says, “I chose to be a witness to my time, not to document its grand moments, but to capture the small telling ones, the overlooked everyday things that define a time and place.

Jane Dickson, Motel 5, Acrylic on Felt, 2019

Coco Fusco, Your Eyes Will Be an Empty Word, 2021.

In this new video, Coco Fusco directly reflects on the death toll caused by the pandemic. We see her in a boat just off Hart Island, near the Bronx. The island has long been the site of New York City’s potter’s field, where unclaimed bodies are buried. At the height of the AIDS crisis in the ’80s and ’90s, many bodies of people whose families had disowned them were sent here; over the past two years, it has again become active at an alarming rate. Fusco tapped poet and writer Pamela Sneed, an AIDS activist who penned a 2020 memoir Funeral Diva about that era, to provide the narration—written by Fusco—for this poignant mediation on death, loss, and grief. Over the course of 12 minutes, Sneed tells us that there could be as many as a million bodies buried here, but no one accurately knows. With the staggering total death totals from Covid, she notes, bodies become numbers in ways that make us forget the stories of those who are lost. Throughout the film, like a chorus, Sneed repeats, “‘When death comes it will have your eyes,’ he said.”

If you are visiting New York City before September 6, 2022, it is always a good experience to see what is going on around the country.  Something worth note is there are four indigenous artists represented from various parts of Noth America.  The exhibitions are on floors, 1, 3, 5, and 6.

In Summary, I would agree with the art critic Peter Schjeldahl who says “ long on installations and videos and short on painting, conventional sculpture, and straight photography.” When he writes for The New Yorker. Whitney Biennial 2022

Many Voices: The Fine Art of Craft @ BBAC

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.

 

 

Kahlo Without Borders @ MSU Broad

Kahlo Without Borders installation view at the Eli and Edythe Broad Art Museum at Michigan State University, 2022. Photo: Eat Pomegranate Photography

Everything changed for Frida Kahlo during a fateful bus ride through Mexico City in 1925.  A few blocks from her school, where the 17-year-old Frida was a senior and exhibited precocious intelligence, the bus rounded a corner and collided with an oncoming trolley, severely injuring dozens of passengers. The wooden bus blew apart, leaving Frida with catastrophic injuries, including a steel rod that pierced through much of her body. She was pulled from the wreckage covered in gold dust, likely from a passenger who was an artist. She survived, defying the initial pessimistic assessment of the doctors at the Red Cross hospital. But much of the rest of her life was spent bedridden in hospitals in Mexico and the United States, where she underwent 32 surgeries. To pass the time, Frida began to paint.

Kahlo Without Borders at the MSU Broad explores Kahlo’s support network of friends and family, with a particular focus on the doctors she befriended during her many extended hospital stays. The exhibition is conceived as an intimate journey through a family scrapbook or photo album, and on view (for the first time, in some cases) are candid family photographs, letters, and even hospital records from the Kahlo family archives. This is an intimate and interdisciplinary show which traverses the boundary between the visual arts and the medical field, much like Frida Kahlo’s paintings.

Antonio Kahlo, Frida with cane, ca. 1950. Courtesy Cristina Kahlo and the Broad Art Museum

Kahlo was well-connected, and her social orbit encompassed many famous poets, artists, and writers. There are candid snapshots of Kahlo with muralist Diego Rivera, who Frida married, divorced, and re-married (theirs was an acrimonious relationship, but to the end they remained ardently supportive of each other’s career). We also see Kahlo with Leon Trotsky, a close family friend and, for a little while, Kahlo’s lover.

And, of course, we are introduced to a few of the doctors and nurses Frida Kahlo befriended, such as Leo Eloesser, Juan Farill, and Judith Ferrato. The letters and correspondence on view demonstrates the gratitude and affection Kahlo felt for these people. Kahlo featured Farill in her Self Portrait with the Portrait of Dr. Farill, and also gifted him a copy of the book The Complete Anatomy of A Man, which she accompanied with a note reading, “Dearest Dr. Farill. So you may laugh at the surrealist ‘Anatomy.’ Save it with Frida’s love.” Both the book and the note are on view.

Kahlo Without Borders installation view at the Eli and Edythe Broad Art Museum at Michigan State University, 2022. Photo: Eat Pomegranate Photography

Particularly moving are the photographs of Kahlo in hospital beds. Several of these show her working on various paintings, triumphantly affirming life in the midst of tragedy. But other images speak to the very visceral and unglamourous reality of her extended hospital stays. Into the 1950s, she appears visibly frail and worn, as in a picture captured by Raúl Anaya a few months before her death.

Kahlo Without Borders installation view at the Eli and Edythe Broad Art Museum at Michigan State University, 2022. Photo: Eat Pomegranate Photography

For Kahlo enthusiasts, the highlight of the show will certainly be the small ensemble of her original drawings, which include a pencil rendering of the 1925 tram accident, a subject she never actually painted. Two of these drawings were made in response to her second miscarriage, which occurred in Detroit while she was accompanying Diego, who was occupied painting his murals at the Detroit Institute of Art. One of these drawings, The Dream, visually anticipates the painting she would later make of the incident, Henry Ford Hospital: 1932. In both the drawing and the painting, a crumpled and visibly broken Frida lies naked, bleeding, and uncovered on a spartan hospital bed.

Kahlo’s grandniece, photographer Cristina Kahlo (who helped organize the show), lends contemporary insight into Frida’s life with a series of photographs that explore her stay at the American British Cowdray Hospital in Mexico City. An ensemble of photographs by Cristina shows the varied artifices and prosthetics that intruded into Frida’s body and art, such as her prosthetic leg and one of the corsets she had to wear. An ardent Communist, Frida personalized this particular corset with a hammer and sickle. In a large lightbox (mimicking a microfilm reader) we see actual records of Frida’s vital signs during some of her surgeries. Looking at a still frame from a monitor showing Frida’s heartbeat, one immediately recalls the many times Frida portrayed her heart in her paintings. Here, we can see its literal rhythm. Cristina Kahlo also photographed Frida’s hospital gowns which, as she painted, she would use to wipe excess paint from her brushes. Here, Cristiana Kahlo offers these images as an “absent portrait” of the artist.

Kahlo Without Borders installation view at the Eli and Edythe Broad Art Museum at Michigan State University, 2022. Photo: Eat Pomegranate Photography

This exhibition is a must-see for Frida Kahlo fans. As for the uninitiated, this show might come across as visually thin, given the prevalence of letters and correspondence. But it’s certainly thematically compelling. Perhaps it’s cliche to say of Frida Kahlo that, phoenix-like, she harnessed personal tragedy as the source of life and beauty. Then again, Kahlo’s art certainly isn’t beautiful. But it’s always eloquently and gut-wrenchingly truthful, speaking to the pain we all inevitably face at one time or another. And as for Frida, the portrait that emerges between the lines suggests that in spite of everything she endured, she possessed an indefatigable fortitude, a zest for life, and a deep affection and gratitude for her support network. Whether or not you’re a fan of Frida Kahlo’s art, her spirit is inspiring, and Kahlo Without Borders serves as an affectionate and personal tribute.

Kahlo Without Borders installation view at the Eli and Edythe Broad Art Museum at Michigan State University, 2022. Cristina Kahlo, Absent Portrait 1 (2016)

Kahlo Without Borders is on view at the MSU Broad through Aug. 7, 2022.

Sons: Seeing the Modern African American Male @ FIA

Sons: Seeing the Modern African American Male & Drawing from Life – Exhibition at the Flint Institute of Arts

Courtesy of the Flint Institute of Art and Jerry Taliaferro

Five years ago, the Flint Institute of Art presented the exhibition Women of a New Tribe, an immensely popular photography show which celebrated the physical and spiritual beauty of 49 Flint area African American women, all photographed by North Carolina-based artist Jerry Taliaferro. An accomplished artist and commercial photographer, Taliaferro’s work has been exhibited in shows on both sides of the Atlantic, including two exhibitions sponsored by the U.S. Department of State. Taliaferro now returns to the FIA with Sons: Seeing the Modern African American Male. This is a large body of work that fills the FIA’s spacious Henry and Hodge Galleries, and serves to confront perceptions and biases while celebrating some of Flint’s civic, business, and spiritual leaders.

Courtesy of the Flint Institute of Art and Jerry Taliaferro

Like Women of a New Tribe, this is a traveling exhibition that has different iterations at each host venue. Here, community members nominated men who had impacted Flint in a positive way, and these individuals became the subjects of the exhibit. Entering the gallery space, visitors first encounter a set of black and white photographs of each individual, and text on the wall poses the question “Who do you see when you look at me?” Each subject meets the camera’s gaze, unsmiling. Everything below their chins is cropped out, and their heads seem to hover in indeterminate space. The absence of any props or details invites viewers to encounter each face at, well, face value, and try to read the furrowed brows and creased foreheads for some hint at deciphering their respective stories and personalities.

Courtesy of the Flint Institute of Art and Jerry Taliaferro

 

This first series of images is answered with a second set of larger color photographs, and accompanying text on the gallery wall declares “I Am…” The same men pose for three-quarter portraits this time, sometimes whimsically (though always dignified), and the clothing they wear and the props they carry offer us substantially more insight into who these individuals actually are. Unlike the first series, these photographs are accompanied with the name and a brief biography of each individual. All deeply involved in their respective communities, these men are teachers, pastors, businessmen, entrepreneurs, musicians, philanthropists, volunteers, husbands, fathers, and sons.

Careful and thoughtfully posed compositions assist in the visual storytelling to elevate these images beyond a photographic directory of Flint’s Who’s Who. And there is thoughtful conceptual significance in presenting these two parallel sets of portraits. Taliaferro writes, “As a Black American male I have sensed the discomfort of others (and myself) in certain encounters, I have also been amazed how this discomfort dissipates as we learn more about one another and discover the many things we have in common. This simple exhibition is a humble attempt to dispel some of the fear and discomfort.” Indeed, after we’ve learned about these individuals and heard their stories, returning to the first set of photographs seems like returning to old acquaintances, and the exhibition invites us to reflect on the ways and the frequency with which we subconsciously and baselessly draw conclusions about individuals.

Courtesy of the Flint Institute of Art and Jerry Taliaferro

Courtesy of the Flint Institute of Art and Jerry Taliaferro

Drawing from Life, a concurrent (but unrelated) exhibition in the FIA’s single-space Graphics Gallery complements Sons with an exhibition of socially and spiritually resonant drawings by Ed Watkins, a Flint native who taught at the Genesee Area Skill Center and Mott Community College. The show takes its title both from the artistic practice of drawing from life, and also from Watkins’ philosophy of art, for which his creative practice is guided by his lived experience as a Black artist, and the Black experience is central to his work.

Courtesy of the Flint Institute of Art and Ed Watkins

Watkins’ ambitiously large drawings employ a visual magic realism; his figures are rendered with exquisite draftsmanship, and elements within his drawings add layers of symbolism and allegory. His drawings stylistically rhyme with the works of Chicago’s Charles White, whose drawings were also rendered ambitiously large and applied tight, representational draftsmanship relentlessly underscored by faith and a yearning for justice.

Some of his most socially resonant works are those inspired by the recent police shootings of Michael Brown (Surrender Jonesz) and the death of George Floyd (Breathe), the latter of which portrays Tristan Taylor, organizer of the “Detroit Will Breathe” march in the summer of 2020. Taylor’s face is largely covered by his facemask, but Watkins captures his impassioned eyes and furrowed brow, which speak to the moral weight of his cause.

Faith informs many of these images, some of which are richly freighted with spiritual symbolism. The Ravens: I Kings 17 depicts a volunteer distributing cardboard boxes of food to unseen recipients while under the watchful eyes of nearby ravens. The work references the Biblical story of Elijah, miraculously sustained in the wilderness by ravens who brought him food. It’s an image also inspired by the toll the Covid pandemic took on individuals suddenly displaced from their jobs, and the churches and community organizations that distributed provisions to the food-insecure.

The four works on view from his Preacher series are particularly forceful. Sometimes rapturously animated, sometimes soulfully contemplative, but always expressive, these drawings portray pastors, including some from the Flint area.  Watkins tactfully uses the stained-glass windows in the background to underscore the content of the sermons which directly inspired each work. Most of these drawings show each preacher mid-sermon, but his portrait of Marvin Jennings (Sr. Pastor Emeritus of Flint’s Grace Emmanuel Baptist Church) captures the subject in a moment of solitude and quiet reflection, the stained glass panels in the background portraying Ghanaian symbols for peace, unity, and other virtues.

Courtesy of the Flint Institute of Art and Ed Watkins

Courtesy of the Flint Institute of Art and Ed Watkins

Taliaferro’s photographs and Watkins’ drawings are most rewarding when viewed in person, where their comparatively large scale can be best appreciated. But much of Taliaferro’s show can be accessed digitally, including video interviews of each of the men featured in Sons.  While each of these two exhibitions apply different media to explore different facets of the Black experience, they certainly pair well together. Both shows are imbued with social relevance, and each is fortified by quiet dignity and relentless optimism.

Sons: Seeing the Modern African American Male is on view at the Flint Institute of Art through April 16, 2022.

Drawing From Life: Ed Watkins is on view through April 10, 2022.

 

 

Image and the Photographic Allusion @ OUAG

Oakland University Art Gallery presents: Image and the Photographic Allusion

Installation image OUAG: Image and the Photographic Allusion, 2022

The Oakland University Art Gallery opened a photographic exhibition on January 13, 2022, that will run through April 3, 2022. The curator of this exhibition is Dick Goody, Professor of Art in Oakland University’s Department of Art and Art History. Goody also serves as director of the Oakland University Art Gallery.

In a statement, he says, “Photography is thriving, but in a different way than before. We used to preserve our treasured paper snapshots in photo albums, but today, smartphone images have become digital ephemera. Incalculable numbers of them are taken only to be forgotten. Photography exhibitions like this give us pause to reconsider the aesthetic grandeur of a printed-out, permanent, archivable image. In no way a conceptual concern, these rarified images are nothing if not transcendental.”

Louis-Jacques Mand’e. Boulevard du Temple, 1838, Daguerreotype, 5 x 6.5”

Photography, when its end result is called a photo, a picture, or a pic, gives meaning to an image, real or abstract. The types are amateur, commercial, journalistic, scientific, and artistic with too many to name.  Today, it finds its application into every part of human life. It was invented in France in 1829 when an artist and a chemist named Louis Daguerre obtained a camera obscura for his work on theatrical scene painting. Daguerre was put into contact with Nicéphore Niépce, who had already managed to record an image from a camera obscura using the process he invented: the early photographic process employing an iodine-sensitized silvered plate and mercury vapor. Daguerre got stuck with the process in his name, Daguerreotypes – that gave the early photographers the ability to preserve an image and their collective history. From these early images using glass and paper, the process eventually found its way to film and now to digital cameras containing an array of electronic photodetectors, all with the same intent: capturing light and forming an image.

Pieter Hugo – After Siqueiros, Oaxaca de Juárez, 2018 archival pigment print, 47 x 63 inches

Pieter Hugo’s work is dominated by images of the human figure and their condition. His work is informed by a self-taught approach to photography after beginning his career by starting out working in the Film Industry. Born in Johannesburg, South Africa, Pieter started taking photographs at the age of twelve when his father bought him a camera. He gained an impressive reputation and an enviable following for his documentary photography and his striking fashion images. Choosing to focus on marginalized or unusual groups of people, Hugo has published many books and has been exhibited worldwide. The South African artist currently lives in Cape Town.

He says in a statement, “While working in Mexico I was particularly looking at muralist paintings. This image was constructed using a group of garbage collectors who moonlight as a theatre troupe at the market where they work. I showed them a reference to a tableau from Alfredo Siqueiros and asked them to recreate it. I love the junction between premeditation and accident.”

Markus Brunetti – Wells, Cathedral Church of St. Andrews, 2015–16 archival pigment print, 59 x 70.8125 inches

Markus Brunetti’s work, Wells- Cathedral Church of St. Andrews, is part of a series titled Façades, which features a technically precise image of European religious buildings’ exteriors, primarily from the 14th century. This work reminds this writer of a time when cameras were fitted with architectural lenses that were adjusted when getting a perfectly flat image of a building. Using today’s technology, Brunetti depicts the facades of the building in a highly exact hyper-realistic manner by combining scores of individual frames into a single image.

He says in a statement, “The builders and architects that built the churches had to be patient. Most of them never saw the finished result of their endeavors, as it would take decades or sometimes hundreds of years to complete the building. I try to work on this series with the same spirit and patience they must have had when starting to work on those new historical monuments.”

Raïssa Venables – Sukkah, 2020 archival pigment print, 54 x 44 inches

The Sukkah image by Raissa Venables is a large-scale photograph that requires numerous photographs stitched together to form the illusion of movement without a human presence. The illusion of movement is created from the use of multiple vanishing points. Assumptions of reality are disrupted, creating a realm where inanimate objects seem alive. The result is both an architectural puzzle and a landscape of the mind. It is a kind of interior environment that makes the viewer ask questions.

In her statement, she says, “At first glance, they may seem to be realistic images or even entrances into existing places. My photographs are experiential visions of our environments, whether they are interior or exterior, mundane or opulent. Rather than reveal visible details captured by my camera, I delete what I perceive to be distractions.”

Zanele Muholi – Phaphama, at Cassilhaus, North Carolina, 2016 archival pigment print, 43.375 x 30 inches

Zanele Muholi is a South African woman who uses photography to capture portraits of black, lesbian, gay, bisexual, queer, intersex people, including herself. Her images capture the realities of people she believes need to be heard. Her works in this exhibition are portraits of herself, where she intentionally darkens the exposure of her skin and compliments this with either her hair or the clothing she wears.

She says, “I wanted to use my own face so that people will always remember just how important our black faces are when confronted by them- for this black face to be recognized as belonging to a sensible, thinking being in their own right. The key question that I take to bed with me is: what is my responsibility as a living being – as a South African citizen reading continually about racism, xenophobia, and hate crimes in the mainstream media? This is what keeps me awake at night. You are worthy. You count. Nobody has the right to undermine you – because of your being, because of your race, because of your gender expression, because of your sexuality, because of all that you are.”

It is worth mentioning that many of these images are large prints (30 x 40-inch range), where scale plays a part in the art, and the printmaking is equal to the capture of the image. Most people don’t have or make prints, especially large prints, and when it is part of the creation it takes on an elevated meaning and presence. In addition, this exhibition is designed to give viewers an experience outside what is normally available to both students and the public alike and therefore differs in its audience and purpose. It is definitely worth a visit.

Artists represented: Mary Ellen Bartley, Peter Bialobrzeski, Markus Brunetti, Lucas Foglia, Cig Harvey, Jacqueline Hassink, Erik Madigan Heck, Pieter Hugo, Joshua Lutz, Michael Massaia, Jeffrey Milstein, Zanele Muholi, Christopher Payne, Toshio Shibata, and Raissa Venables.

The Oakland University Art Gallery presents Image And The Photographic Allusion, which runs through April 3, 2022

 

 

 

 

 

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