Sculpture

Car Design in the Motor City @ DIA

Detroit Style: Car Design in the Motor City, 1950 – 2020 at the Detroit Institute of Arts

Installation: counterclockwise, Firebird III, General Motors, 1958; 300C, Chrysler Corporation, 1957; Le Sabre, General Motors, 1951

As a visitor arriving at the Farnsworth Street entrance of the Detroit Institute of Arts to take in “Detroit Style: Car Design in the Motor City, 1950 – 2020,” you’ve just begun your journey. After entering the Farnsworth doors of the South Wing of the building, one begins a colorful and eye-catching hike across the width of the museum. The tour passes through the hallowed halls and treasure laden galleries of the Institute until reaching the North Wing and the now deinstalled modern/contemporary galleries and the exhibition entrance. There, a wide doorway (definitely not a columned portal) leads into the first show-stopping gallery of “Detroit Style.” Unlike any other gallery in the DIA, arrayed before you is a breathtaking trio of sleek, shiny automobiles seemingly floating on an expansive white vinyl plinth: a silvery gray Firebird III (General Motors, 1958), a pristine white 300C (Chrysler Corporation, 1957), and a lush misty blue Le Sabre (General Motors,1951). Their elegantly understated hues allow the clean lines, crisp edges and creases, wings, fins, and upswept taillights to protrude and project into space. After all, as a curator once wittily claimed, “Automobiles are hollow, rolling sculptures.”

This, the first and largest gallery, focuses on the 1950s in an exhibition that unfolds chronologically decade by decade. Organized and overseen by DIA curator Benjamin Colman, twelve cars in all are displayed, four from each of the Big Three manufacturers. (And, tactfully, a different car graces three distinct covers of the indispensable catalog–in red, silver, or blue, your choice.) Each of the sequential galleries showcases one or more concept and/or production vehicles. In addition to automobiles, the show offers design drawings, archival photos, paintings, a sculpture, and short videos in which designers discuss their works. (Access the videos at end of this text.)

In the opening gallery, for instance, devoted to the 1950s and presenting the cars described above, a drawing by Art Miller, Rendering of Automobile Interior (1952), features a cutaway view of a gleaming red and black interior and the startling sight beyond the opposite window of a tiny, low flying jet zooming by in the distance, an apt reflection of the influence of aircraft forms on auto design then as well as of the au courant lingo of the 50s: “The Forward Look.”

Installation: foreground, Corvette Stingray Racer, General Motors, 1959; background, Edward Ruscha, Standard Station, Amarillo, Texas, oil on canvas, 1963

In one of the subsequent galleries addressing the 1960s, a Corvette Stingray Racer (General Motors,1959) is backgrounded by Edward Ruscha’s Standard Station, Amarillo, Texas (1963). Sharp, crisp lines exaggerating length and emphasizing edges and creases earmark both objects. The iconic red, white, and blue gas station, defined by thrusting diagonals that recede into infinity, is silhouetted against a dark sky with criss crossing searchlights that highlight both the glowing filling station and silvery Stingray in the foreground.

Installation: left, Mustang, Ford Motor Company, 1967; right, Plymouth Barracuda, Chrysler Corporation, 1970; middle, John Chamberlain, Coo Wha Zee, painted steel, 1962

Moving further along into the 60s, two so-called pony cars, the Mustang ((Ford, 1967) and Plymouth Barracuda (Chrysler, 1970), enter the scene. Viewed head on, as here, these sporty, youthful, and spirited vehicles present contrasting hues, one gutsy black, the other flaming red, each with a broad, mouthy grille suggestive of a tense, one-on-one confrontation. Nestled between them is John Chamberlain’s brawny black and white sculpture, Coo Wah Zee (1963). Fabricated from discarded car parts bent and contorted into a tall, rough-edged abstraction, it is, as the title intimates, one “crazy” sculpture. Two drawings, the rakishly tilted 71 Barracuda Front End Facelift Concept (1968) by Donald Hood and Howard Payne’s smoldering Ford Mustang(1965)–a ripe orange body profiled on red paper–attest to the visceral appeal of these feisty, automative rivals.

Donald Hood, ’71 Barracuda Front End Facelift Concept, mixed media on vellum, 1968

 

Howard Payne, Ford Mustang, Prismacolor and gouache on red charcoal paper, 1965

Just beyond midpoint in the exhibition, rather like a palate refresher, the 4-door, aerodynamic Probe IV (Ford, 1983) comes into view. Its soft, pristine white hue, integrated forms, rounded corners, quiet, whispering demeanor, and four wheel covers minimizing the presence of tires and implicit speed, denote what one commentator described as a “wind cheating supercar.”  Accompanying its calm presence are a number of fluid, ovoid renderings by Howard “Buck” Mook, Maurice Chandler, Taru Lahti, and Ken Okuyama (c. 1982 -1991).

GT, Ford Motor Company, 2017

 

Kristin Baker, The Unfair Advantage, acrylic on PVC on board, 2003

The final gallery, sparely installed, is home to just two works: an electric blue, sinuous, teardrop shaped GT (Ford, 2017) and Kristin Baker’s large scale, mixed media composition The Unfair Advantage (2003). The swept-back lines of the low-slung GT, a reinterpretation of a racing car legend of 1966, telegraph power, speed, machismo. Baker, alternatively, presents a cautionary work, an updated Futurist scene (landscape, raceway?) that evokes jagged, colorful forms whizzing by AND, as a counterpoint, the blurred, roiling smoke and fire indicative of a catastrophic crash. Nothing like ending the show with a bang!

Videos, accessible here,  provide perspective on how Detroit’s iconic vehicles are created with this interview series featuring car designers Ralph Gilles, Emeline King, Craig Metros, and Ed Welburn.  The four designers share their insights on favorite cars, the use of materials, and the collaboration between designers and engineers.

“Detroit Style: Car Design in the Motor City, 1950 – 2020” is on display at the DIA through June 27, 2021. Keep in mind that to view the exhibition you will need to reserve in advance a specific day and time for your visit.

Mark Beltchenko @ MFSM

Marshall M. Fredericks Sculpture Museum at Saginaw Valley State University exhibits the work of Mark Beltchenko

Mark Beltchenko, Installation image, Images courtesy of MFSM.

The Marshall M. Fredericks Sculpture Museum conducted its 2018 Regional Biennial Juried Sculpture Exhibition, a state-wide competition for sculptors, and the first prize went to the Detroit Artist Mark Beltchenko.  Part of that process resulted in a one-person exhibition at the museum. The Detroit-area sculptor is highly skilled in multiple media can be currently viewed online at marchshallfredericks.org  The title of this virtual exhibition ‘SOS (or ***—*** in Morse Code) is often used to denote phrases such as ‘Save Our Ship’ and is comprised of six different series of works by Beltchenko: INSIDER, BIRTHWORKS, HISTORY LESSONS, NOT MY PRESIDENT, PEDESTAL, and DISTRESS, spanning from the year 2006 to the most recent works completed in May 2020.

Mark Beltchenko, MFSM, virtual exhibition at their website, 11.2020

Museums in Michigan and around the country have been hosting virtual exhibitions due to the Covid-19 regulations and have harnessed various technologies to assist in the process.  The MFSM used MatterPort technology, allowing the viewer to begin at the open of the exhibition and proceed for a self-controlled visit through the virtual space. https://www.marshallfredericks.net/mb

Mark Beltchenko, HISTORY LESSON – 3rd STONE steel, limestone, brass 6 x 11 x 8 inches

As mentioned, Beltchenko’s work is sorted by what he calls series, and these stone pieces are cut from building parts and then combined with other material. Steel, brass, and limestone carved to look like concrete structures are the ghosts of a man-made world in decay. The metals protrude from and through the concrete-appearing objects as the sculptor reclaims the man-made world’s parts.

Mark Beltchenko, PEDESTAL SERIES #2, limestone, steel

Another series is Beltchenko’s pedestals. This series is a dystopian view of what art could look like in a world void of artistic expression and freedom. The sculpture, Pedestal #1 has an engraved plaque that states “1 of 3 carved objects discovered on the North American continent of Earth.” Art encapsulates and makes possible reasonable communication throughout the history of humankind. The limestone has been carved to resemble human bone as the pedestals are made of steel vein structures that are bare, out of balance, and leaning uncomfortably on edge.

Mark Beltchenko, GOOD OLE NUMBER 45 – steel, 22 x 13 x 24 inches

Artists are people with political views, but few choose to bring those views into their art.  Mark Beltchenko is a three-dimensional artist who decides to devote a small part of his work to his view of the United States’ 45th President.  The artist uses thorns in this artwork represent the poisonous nature of the 45th President and his current administration; the hiring’s and the firings, the infighting, the tell-all book writing that now exists.  So much so, it requires the museum to place a disclaimer upfront: CAUTION This exhibition contains subject matter and imagery that some may find difficult, disturbing, and uncomfortable. Museum staff is available to discuss the works and the artist’s intent.

“The views and opinions expressed in this exhibition are those of the artist and do not necessarily reflect those of the Marshall M. Fredericks Sculpture Museum, Saginaw Valley State University, our funders or sponsors, including Michigan Council for Arts and Cultural Affairs.”

The director of MFSM, Megan McAdow, is quoted from a review, “Beltchenko is not a loud or verbose man, but his work screams at us with a dire urgency. That is not to say that his work is obvious; rather, it is not. It requires effort. One must spend time with the work and breathe into it. You may not immediately recognize the discourse; however, allow yourself to linger, and as one lingers, the layers begin to unfold and reveal its meticulous detail and dialogue. It affects and changes you.”

Equally comfortable working in stone, steel, aluminum, wood, and the non-ferrous metals, Beltchenko’s work serves as a meditation on the good and bad in our current lives: The environment, political hypocrisy, positive growth, greed, and human narcissism – not necessarily in that order, are all covered through his works.

His three-dimensional imagery communicates ideas in ways that are both primitive and profound.

The artist, through his work, is clear about his political views. Beltchenko states: “These works reflect extreme emotion because I’m highly affected by what is going on. I’ve never been politically motivated in the past, but we are at a point where we can’t take this anymore. I have a voice, and my voice is in my art.”

Mark Beltchenko earned his Bachelor of Fine Arts from Alma College, Alma, Michigan.

Marshall Fields, Sculptor, in his studio in the mid-1980s.

The exhibition at the Marshall M. Fredericks Sculpture Museum, Mark Beltchencko: • • • – – – • • • (SOS) runs through January 16, 2021.

To plan your visit:   https://www.marshallfredericks.net/mb

 

Moving Forward @ OUAG

Oakland University Art Gallery opens the fall season with a faculty exhibition

Installation image, Moving Forward, OUAG, 10.2020

Every fall since I can remember, the Oakland University Art Gallery, under the direction of Dick Goody, Professor of Art, Chair of the Department of Art & Art History and director of the Oakland University Art Gallery, has started off the fall season with a large curated show (supported with a four-color catalog) that would have required months in the planning and often brought in artwork from various parts of the United States and beyond.  Given the current situation under Covid 19 restrictions, Goody has opted to curate a faculty show, including his own work, supported with information on the web site to provide a venue for his faculty members. I suspect he is waiting until later in 2021 to present the public with something more in keeping with his previous tradition. Nevertheless, the gallery is open to the public, with Covid 19 restrictions in place,  noon – 5 pm, Tuesday through Sunday, closing November 22, 2020. It’s worth a visit.

Cody VanderKay, Flattening, 32 X 43 X 3 20, PAINTED OAK, 2020

 

The work of art that jumped out at me was Backstage, by the artist Cody Vanderkaay, an eclipsed shape object with a highly constructed surface of vertical squared planes painted in progressive shades of green. It’s a new experience.  Not a figure, landscape, still life or photo image reference, but a newly experienced object.  In the surge of artist returning to painting the figure, Vanderkaay stays on course with his abstract imagery presenting a consistent path for his work to expand and enlighten.

He says in his statement, “The artworks explore and consider how individuals, objects and spaces interrelate, and how relationships between these entities develops over time. The sculptures displayed in this exhibit signify various states of change: A circular plane of wood appears pleated and compressed to produce a variegated effect; a vertical square column bends in diverging directions under invisible force; a small-scale architectural relief implies stories behind the scenes.”  Cody VanderKaay was born and raised in North Metro Detroit and graduated from Northern Michigan University with a B.F.A. in Sculpture and from the Lamar Dodd School of Art at the University of Georgia with an M.F.A. in Sculpture.

Sally Schluter Tardella, Bulb, Oil on Canvas, 72 x 48”, 2020

The work of Sally Schluter Tardella, Bulb, also attracted this writer, a sort of melancholy oil painting that revolves around a painter’s favorite subject, light.  This single bulb illuminates its surrounding  vertical space filled with tones of red, brown and grey and a repeating motif of ellipses, lines and small shapes creating a somewhat mysterious abstract space.  It is the idea that draws the viewer to the work of art highlighted by something we all recognize: a small domestic light bulb.

Tardella says in her statement, “A wall surrounds, encloses, immures. A barrier, it is a continuous surface that divides rooms, separates and retains elements. I see transparent and opaque layers of material from above and below, as I imagine cross sections of wood beam structures folding into new systems of wall. In Bulb the atmosphere is lit by the single light bulb, the space defined is both deep and blocked by surface texture, whereas in Light, the light source is transparent and the space is shallow. In Fan the screen is made of tactile architectural symbols.”  Sally Schluter Tardella uses architectural tropes as metaphor to explore personal ideas of body, gender, culture, and politics. Tardella moved from New Jersey to study Painting at Cranbrook Academy of Art.

Susan Evans, Some Art From My House, Mixed Media, 2020

This eclectic collection of photo imagery, Some Art From My House, is exactly that, a mixture of small photographic images that vary in color size, format and subject, which is meant to demystify the taking of images and their content.  There are images I like and others not so much, but it is a window into her perception of what photography is, at least for her.

Evans says in her statement, “ What we look at everyday becomes familiar and generally, familiar things become preferences which define ideas, beliefs and experiences. Although I have not made any of these works as a group these pieces become an intimate self-portrait. The true meaning of the piece is not about each image individually, instead it is about the sum, juxtaposition and connection between the different elements. Who then is the true author of the artwork?”  Susan E. Evans received her B.F.A. in photography/holography from Goddard College, and an M.F.A. in photography from Cornell University.

The Moving Forward exhibition features the work of the full-time faculty of the Department of Art & Art History at Oakland University that includes the work of Aisha Bakde, Claude Baillargeon, Bruce Charlesworth, Susan E. Evans, Setareh Ghoreishi, Dick Goody, David Lambert, Lindsey Larsen, Colleen Ludwig, Kimmie Parker, Sally Schluter Tardella, Maria Smith Bohannon and Cody VanderKaay.

OUAG Hosts Faculty Exhibition Moving Forward closing November 22, 2020

 

 

Contemporary Glass @ Flint Institute of Arts

Installation View, All images courtesy of the Flint Art Institute

Two years ago, the Flint Art Institute opened the doors to its newly completed 11,000 square-foot Contemporary Glass Wing, supplemented by a 3,620 square foot glass arena where glassblowers offer demonstrations to audiences who can watch from stadium-style seating.  Chic and emphatically modern, these new spaces seem to proclaim that while handcrafted glass is an ancient art, it’s also a medium for the 21st century and it will definitely be here in the future. The wing is home to a fine collection of eighty-eight glass artists representing sixteen countries, making this one of the best venues in the country for viewing contemporary glass.

The works on view come from the collection of the serendipitously  named Sherwin and Shirley Glass, and are currently on loan from the Isabel foundation.  The heart of the collection is glass that emerged from the Studio Glass Movement, which had its roots in Toledo, Ohio–itself home to a fine glass collection.  The movement began when Harvey Littleton and Dominick Labino engineered ways for artisans to create glass in their own studios with relatively small furnaces.  They held a famous workshop on the subject at the Toledo Art Museum in 1962 (among others, Dale Chihuly was present), energizing the movement and creating the nexus which allowed for it to attain a global reach.

Suggesting highlights from the collection is a little difficult, given its strength.  Karen LaMonte’s Dress Impression with a Traincertainly warrants mention.  Here, viewers encounter a dress reminiscent of what you might expect to find draped on a Greek Aphrodite, except there’s no Aphrodite under these folds, merely a void created from a cast of a model.  Her work subtly addresses the tension between the body and the spirit, though one’s principal thought will likely simply be “how did she make that?!”

Cast glass Dimensions: 58 5/16 × 22 1/2 × 43 5/16 in. Courtesy of the Isabel Foundation, L2017.143

Demonstrating the often-surprising trompe l’oeil possibilities of glass art, William Morris creates deceptive works inspired by African art like Zande Man and Bull Trophy, each seemingly fashioned out of wood and ivory.  Similarly deceptive are the organic-looking elements of Debora Moore’s Orchid Tree, which looks uncannily like an arrangement of brittle fragments of twigs and withered petals.  The overwhelming majority of works in this collection are sculptural, but Miriam Silvia Di Fiore’s Washing Boardapplies glass wire and thinly ground glass to create illustrative landscapes that seem almost painterly.

Blown glass, steel stand Dimensions: 26 × 16 × 16 in. (66 × 40.6 × 40.6 cm) Courtesy of the Isabel Foundation, 2017

Flameworked and kiln-worked glass, found object Dimensions: 30 3/4 × 16 × 5 3/4 in. (78.1 × 40.6 × 14.6 cm) Courtesy of the Isabel Foundation, 2017

This collection forcefully advances the argument that abstract art can indeed be stunningly beautiful (incidentally, the FIA has some impressively accessible abstract art across all genres).  The billowing forms of Marvin Lipofski are colorful abstractions reminiscent of Georgia O’Keefe flowers, but rendered in three dimensions.  And staple to any collection of contemporary glass are the works of Chihuly; here, a set of his characteristically biomorphic bowls nestle into each other somewhat like Matryoshka stacking dolls.  Works like these can easily serve as a gateway-drug into the world of abstraction for those who aren’t especially fond of abstract art.

Acid-polished blown glass Dimensions: 15 × 21 3/4 × 16 1/2 in. (38.1 × 55.2 × 41.9 cm) Courtesy of the Isabel Foundation, 2017

Many of these works are from Eastern Europe, a testament to the region’s history of glassmaking which stretches back to the Renaissance.  Surprisingly, even while Communism exerted its dampening effect on the arts, glass artists were comparatively immune from restrictive policies, since the authorities didn’t think glass art had any subversive potential. The abstract works of Stanislav Libensky and his wife Jaroslavia Brychtova are a foil to state-sanctioned Socialist Realism, triumphantly making the case for abstraction and self-expression.  The monumental scale of their collaborative Green Eye of the Pyramid helps to situate this work a visual anchor for the collection.

Cast, cut and polished glass, I-Beam pedestal, Dimensions: 82 1/2 × 113 × 29 3/4 in., 2000 lb.  Courtesy of the Isabel Foundation, 2017

None of this is currently on view to the public, of course, but it will be eventually.  In the meantime, the FIA has done an excellent job of digitizing its collection.  Viewers can browse an online catalogue of art from the museum; one page offers selected highlights accompanied with audio guides, making the experience more informative and satisfying than simply clicking through pictures online.  The Contemporary Glass page currently offers a catalogue of the FIA’s glass collection, and most works are accompanied by information about the artist.  The FIA also produced a fine print catalogue of its glass collection, replete with beauty-shots of each work that fill the entire page, and occasionally spill onto a second.

Centuries ago, Abbot Suger, the mastermind behind the French Gothic style, famously referred to the light that passes through stained-glass as Lux Nova, or transformed, heavenly light.  Best, of course, to experience its magic in person.  But not all is lost in translation when viewing glass online.  Many of these works are at their best when tactfully backlit by soft light, an effect that the luminosity of the computer screen almost seems to replicate.   So until the FIA is able to safely open its doors to the public again, do take advantage of the chance to browse its glass collection which has been placed online in its entirety, and, of course, is completely free of charge.

Installation View, Courtesy of the Flint Art Institute

Glass Exhibition at the Flint Art Institute. The FIA staff is working hard to get ready for the moment when they  will be able to open their doors to welcome you to visit the galleries. Although they haven’t set a date yet, FIA is preparing for the opportunity to reconnect with you while practicing social distancing throughout a virus free facility.

Queen @ Charles H. Wright Museum of African American History

Queen: From The Collection of CCH Pounder on exhibition at the Charles H. Wright Museum of African American History

Queen exhibition at Charles Wright Museum install image courtesy of LaToya Cross

“This looks like a movie set,” exclaimed a youthful voice. The brown boy was on a school trip to the Charles H. Wright Museum of African American History and expressed his awe and excitement as he and classmates swirled through the ‘Queen’ exhibit.

A movie set? I could see that. When you enter the AT&T Gallery at the Wright, there is a richness  in the collection and a feeling that you’re in the presence of stars.

On loan to the museum by award-winning actress and avid art collector CCH Pounder ( NCIS: New Orleans), the pieces are from her private collection and during my visit, (prior to Gov. Whitaker’s ‘Stay at Home’ executive order due to the vast spread of COVID-19), the Wright had recently received a new visual bringing the exhibition to a total of 53 artworks that explore Black women across four themes: beauty, agency, strength and dignity. The makers of the paintings, mixed-media installations and sculptures are artists from across the African Diaspora.

Curated by Sarah Anita Clunis, Ph.D., from Xavier University of Louisiana,  “Beauty” opens the gallery space and immediately I am fascinated with Willow Moon  by the late Jamaican painter and mixed-media artist, Tamara Natalie Madden. The woman’s brown skin brushed with rich golden hues and highlights of oranges and reds is illuminating. The definition of the collar bone teases the subject’s soft sensuousness.

Tamara Natalie Madden (Jamaican), Willow Moon, “30 x 20”  Oil on canvas, 2009

In Madden’s work, allegories are significant. There’s a mirrored likeness between the woman and the bird perched on her fingers, from the color palette to the focused gaze in their curled eyes. The bird cameo (a staple in Madden’s paintings) represents struggle, survival and freedom – an offering of the makers’ personal story and battle with a rare form of cancer that led to her passing in 2017. The body is adorned by a quilt with intricately designed fabrics. This attention given to the detailed threads is a compliment to Madden’s Jamaican roots where quilting is a form of familial storytelling and clothing complements one’s essential beauty. An aura is projected evoking a message of divine femininity.

Steve Prince’s Angela, Messenger of God follows this artistic motif in relation to spirit and divinity. The hoop earrings and afro puffs make Angela’s spiritual prowess relatable to the everyday girl. Her posture is bold yet relaxed and absent of worry while owning space and possibly controlling the elements surrounding her. The grayscale drawing is symbolically complex but there’s evidence of floating hearts, stretched out hands, and feminine-structured silhouettes. The motion and rhythm in Prince’s line strokes appear as guided spirits dancing amid the stillness of “the messenger.”

Steve Prince Angela, Messenger of God, 48 x 84”, Conte’,  201

A loving and nurturing essence exudes in Earth Mother, a charcoal rendering by Yrneh Gabon Brown. Originally part of Brown’s installation, Memba Mi Tell Yu (Listen Up, Take Note) that addresses climate change and the effect it has on the California ecosystem, respect and care for the environment is represented in this work. She is a source of life, spirituality and healing. She is soft but not fragile and always a warrior.

Yrneh Gabon Brown, Earth Mother, 78 x 53”  Charcoal, 2017

Kine Aw (Senegalese), Coiffeur, 78 x 52” Acrylic, oil and tar, *year not provided*

Memories of going to the hair salon  prompted my liking of Coiffeur;  the coming-of-age essence of getting your hair done in momma’s kitchen and as we got older, your homegirl’s house and eventually graduating to the physical salon or “shop”. The flowy, cool colors and swaying nature of body posture in Kine Aw’s painting feels like a breezy Saturday afternoon among sisters, not necessarily by blood but cultural kinship.

Fritz Koenig (German), Bust of an African Woman, 31 x 20” Bronze, mother of pearl, and marble, 1969

When considering agency, and occupancy of space, women of color have often felt unwelcomed and isolated. The idea that women, Black women specifically, are not enough is an obsolete ideology that is debunked throughout the exhibition. The  slight smile and lifted chin, regal stones, sophisticated clothing and oozing confidence in Bust of an African Woman speaks to ancestry and legacy. With imagination at play, this is my grandmother dressed to mingle and socialize with her peers. The story has a simple theme: dignity.

If I were to create a soundtrack to this exhibition, I’d blend album cuts from Lauryn Hill’s The Miseducation of Lauryn Hill, Jamila Woods’ Legacy! Legacy!  and Rapsody’s Eve, making a bold musical gumbo that feeds the soul with honesty, vulnerability and revelation about the depths of womanhood and the Black experience. The artwork for its release would be Harmonia Rosales’ The Birth of Oshun. The intricately detailed  painting is rooted in traditional Nigerian storytelling and shifts the narrative of Sandro Botticelli’s The Birth of Venus, an early renaissance rendering that depicts a white Venus with white Angels flying among her.

Rosales, a contextually clever artist, centers Oshun, painted nude with gold patches representative of the goddesses’ vitiligo, in a seashell surrounded by water and Black angels. The visual is aesthetically appealing and reels you in to the arrival of a deity–pure, sacred and powerful.

Harmonia Rosales (Afro-Cuban American), 55 x 67”, The Birth of Oshun Oil on linen, 2017

‘Queen’ is a visceral experience. The collection encourages the viewer to connect with history, appreciate the present, and admire beauty. We’re taken around the globe with an open invitation to experience a cohesive and complex story that celebrates femininity, identity, power and makings of the Black woman. Perhaps, revealing to the young brown boy visiting with his class that melanated women are indeed, movie star status.

Writer’s Note: Special thank you to Arielle Wallace, Coordinator, External Affairs and Jennifer Evans, Assistant Curator at Charles H. Wright Museum of African American History for their assistance in providing images and artist credits for this review.

*Due to the COVID-19 pandemic and Gov. Whitmer’s extended ‘Stay Home, Stay Safe’ order,  the Charles H. Wright Museum is closed until further notice.