Detroit Art Review

Critical art reviews of Detroit galleries and museums weekly

Category: Sculpture Page 8 of 27

2021 All Media Exhibition @ Detroit Artist Market

By

On August 26, 2021

In Assemblage / Collage, Ceramic, Drawing, Mixed Media, Paintings, Photography, Prints, Sculpture

Detroit Artist Market: All Media Exhibition, 2021, All images courtesy of DAR

The Detroit Artist Market has been mounting this All Media Biennial Exhibition for many years and getting a wide range of work based on the juror and their particular persuasion.  This exhibition’s juror, Valerie Mercer, DIA curator of African American Art, has significant experience in this market between her time at the Detroit Institute of Arts and the Detroit Artists Market. She says, “The 2021 All Media Exhibition reveals how Detroit artists kept busy during the surge of the pandemic. They created artworks that expressed, through varied artistic approaches, the importance of hope, survival, love, humanity, identity, beauty, community, nature, and culture for their and our lives.”

The exhibition includes nearly seventy artists reflecting a large variety of media. Here are works of art that might give the reader a feel for the variety of work in the exhibition.

Harold Allen, Laocoon, Acrylic on Canvas, 2020

The painting Laocoon by Harold Allen jumps out at the viewer with this abstract expressionistic non-objective action painting that piles these five-inch brush strokes up on top of each other, working from dark tones in the background to bright primary colors in the foreground. He says, “What I want is for the viewer to have is the concept that the shapes and color have a narrative sense about the interaction, activity, and relationship with each other.” Harold Allen earned his BFA from the College of Creative Studies and an MFA from Wayne State University.

Ian Matchett, Jazz, Oil on Canvas, 2021

The painter Ian Matchett captured the sizeable realistic oil portrait from a low angle, as his subject sits on a porch edge with a Covid mask hanging off his ear. The painting Jazz was selected Best in Show and sends a message that figure painting still has some life left in this century-old mainstay of expression.  He says in his statement, “I use a mixture of processes to compose my paintings including reference images, sketches, and when possible collaboration with the subjects. When depicting living people, I prioritize meeting with the subjects of my paintings. We discuss what drives their work, what keeps them going, what I see, what they want to share, and ultimately how I could build all of this into a painting.” Matchett is a graduate of UofM in fine art and social studies, which he continues as a part-time social organizer living and working in Detroit. Most of his work focuses on the connections and continuities between revolutionary movements of the past and present.

Ann Smith, America the Beautiful, Steel, Paper Mash, Wood, Bark, Paint products, 2020

The sculpture located on a base, Ann Smith’s America The Beautiful, is a large free-standing organic plant-like work constructed on a steel armature, shaped with paper mâché and painted colorfully with paint products. She says, “These sculptural accretions are visual artifacts of the thoughts and experiences of one contemporary organism, and investigate my place in the system.” Ann Smith has an art studio in the 333 Midland studio in Highland Park where she is one of twenty-five resident artists, collectively known for their BIG shows. Ann Smith is a graduate of the College for Creative Studies.

Nolan Young, Untitled Relief, Encaustic, Mixed Media, 2021

This young artist, Nolan Young, presents a relief that reminds this writer of Cass Corridor’s work from the 1970s.  It could be described as “Newton-esque.” He says in his statement, “Reconstruction through destruction is a key element to my work.  I use found objects, often discarded and forgotten objects to represent observations I have made about post-industrial Detroit. As a product of this environment, I cut and vandalize these objects to create scenes in which the events of deconstruction is a process for Reconstruction.”

Donita Simpson, Portrait of Carl Wilson, Photograph, 2017

The image Portrait of Carl Wilson demonstrates the photographic quality in this well-known Detroit photographer, Donita Simpson. Best known for her portrait of Gilda Snowden (2014), she has captured the larger-than-life quality in her image of the famous abstract Detroit artist. In the Portrait of Carl Wilson, Simpson frames her subject surrounded by contemporary art, just right off-center, capturing this relaxed expression of Mr. Wilson. For years, Simpson has been documenting Detroit artists in their work and where they live. Donita Simpson earned her BFA and MFA from Wayne State University.

Woodbridge Estates, Acrylic on Panel, 2021

This small oil painting, Woodbridge Estates, is representative of the urban landscape painting by the artist Bryant Tillman. Streets, parked cars, neighborhoods, and low light casting high contrast shadows across these subjects with a fluid palette of paint. Bryant Tillman was a 2013 Kresge Visual Arts Fellow.  https://www.kresgeartsindetroit.org/portfolio-posts/bryant-tillman  The Detroit artist has painted in the City of Detroit for thirty-five years and has given his audiences his indelible style of impressionism, exemplified by the painting of a Honda Accord with his own shadow cast on the car’s body.  Bryant Tillman was awarded the Pollock-Krasner Foundation Grant, New York, NY, in 2017.

Participating Artists:

Jide Aje, Harold Allen, Zoe Beaudry, Robert Beras, Boisali Biswas, Davariz Broaden, Marguerite Carlton, Chris Charron, Sherell Chillik, Winnie Chrzanowski, Glenn Corey, Amelia Currier, Valarie Davis, Edmund Dorsey, Artina Dozier, Laurel Dugan, Jan Filarski, Anne Furnaris, Myles Gallagher, Bill Gemmell, Alex Gilford, Dae Jona Gordon, Albert Gordon, Jabrion Graham, Margaret Griggs, Talese Harris, Steven Hauptman, Carol Jackson, Naigael Johnson, Dawnice Kerchaert, Rosemary Lee, Brant MacLean, Lilly Marinelli, Ian Matchett, David McLemore, David Mikesell, Timothy O’Neill, Bruce Peterson, Marcia Polenberg, Shirley Reasor, Laura Reed, Philip Ross, Angelo Sherman, Donita Simpson, Cameron Singletary, Ann Smith, Nicolena Stubbs, Rosemary Summers, Ron Teachworth, Roger Tertocha, Bryant Tillman, Vasundhara Tolia, Kimberly Tosolt, Alan Vidali, Bryan Wilson, Marsha Wright, Nolan Young, Lori Zurvalec.

Detroit Artist Market: All Media Exhibition, 2021

Detroit Artist Market: All Media Exhibition, through September 11, 2021

 

Design Highlights and American Perspectives @ GRAM

By

On July 23, 2021

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

Design Highlights from the Permanent Collection, installation photo.

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

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

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

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

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

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

Design Highlights from the Permanent Collection, installation photo.

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

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

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

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

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

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

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

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

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

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

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

With Eyes Wide Opened @ Cranbrook Museum of Art

By

On July 9, 2021

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Daniel Arsham @ Library Street Collective

By

On June 29, 2021

In Sculpture

Daniel Arsham, Installation image, Bronze DeLorean, Edition of 3, 2021

The smaller single gallery at Library Street Collective opened an exhibition of work, Turning Wrenches, by the artist from Miami, Daniel Arsham, on June 25, 2021.  It is an exhibition of automotive-based sculpted models of cars 1:3 scale replicas with a connection to the film industry.  The sculptured objects are created from Bronze, Quartz, Selenite, Hydrostone, Amethyst, and Calcite. These stone materials are used to create four cars and some additional car-related artifacts. Asham, now described as a New York-based artist, began his journey by traveling to Easter Island in 2011. He joined archaeologists who were re-excavating a Moai (the giant statue) and ran across early tools left behind for nearly a hundred years.  What he experienced was the effect of acid rain, the environment, and years’ time on the tools.  The experience began back in the studio by creating objects that included a kind of erosion that depicted openings in some of his early objects he purchased off eBay: a camera and a Jam Box. Essentially what followed was a process where he created objects, with carefully placed areas of time abandonment and decay that reveal patches of a surreal organic-like interior.

Daniel Arsham, Bronze DeLorean, 2021

For the Detroit exhibition, his solo exhibition at LSC plays on his interest in the automotive industry and auto culture by linking cars to the film industry.  The DeLorean is a relic of the film Back to the Future and conceptually combines his interest in both a unique car and his interest in manipulating time. The model is produced in Bronze and is available in an edition of three.

Daniel Arsham, Ash and Pyrite Eroded Mustang GT, 2021

The 1968 Mustang G.T. was created using Volcanic Ash and Pyrite, is connected to the film Bullitt, starring Steve McQueen, where everything is black except the surreal interior openings in the car chassis.  The original Mustang in the film’s famous chase scene was dark green.

Daniel Arsham, Rose Quarz Eroded Porsche 930, 2021

Along his journey, Arsham purchased a 1986 Porsche 911 Turbo that may have been connected to his personal fondness for the car during his youth. The replica of the re-imagined model was based on a Porsche 930A and is shown here with an imagined “under the hood” universe. The material sculpted is Rose Quartz and Orange Selenite.

Daniel Arsham, Amethyst Eroded Pegasus Sign, 2921

In addition to these reduced 1:3 models of cars, Asham includes a variety of design artifacts from the auto industry of the past.  The early icon for Mobil Oil was this Flying Horse Pegasus, a symbol of speed and power. The flying red horse was first used by Vacuum Oil in South Africa in 1911, but after an acquisition in 1931, Pegasus with a nod from Greek Mythology was adopted as its U.S. trademark by Mobil Oil.

Daniel Arsham, Quartz Eroded Gas Pump, 2021

The origin of the Shell name can be traced back to the seashells that Marcus Samuel senior imported from the Far East during the late 19th Century. The gas pump has evolved over many years, and this replica comes from the 1970 time period, which perhaps made an impression on Ashram’s formative years.

Born in Ohio in 1980, Daniel Arsham primarily grew up in Miami. During his childhood, he began to familiarize himself with art, starting with photography and came to be influenced by his grandfather’s art collection. Arsham employs architecture, performance, and sculpture elements to manipulate and distort understandings of structures and space.

He earned his BFA from The Cooper Union, NYC, NY.  Arsham’s work has been shown at PS1 in New York, The Museum of Contemporary Art in Miami, The Athens Biennial in Athens, Greece, The New Museum In New York, Mills College Art Museum in Oakland, California Carré d’Art de Nîmes, France, among others.

The exhibition Turning Wrenches by Daniel Arsham is on display at the Library Street Collective through August 7, 2021.

 

Seeds of Resistance @ MSU Broad

By

On April 24, 2021

In Installation, Paintings, Sculpture

Seeds of Resistance installation view at the Eli and Edythe Broad Art Museum  at Michigan State University, 2021. Photo: Eat Pomegranate Photography

Within the Arctic Svalbard Archipelago on the Norwegian island of Spitsbergen is a structure known colloquially as the “Doomsday Vault.” Here, buried deep within a mountain and preserved in sub-zero temperatures are thousands of boxes from all over the world containing roughly a million airtight seed packets.  The vault exists to preserve Earth’s biodiversity, acting as a safety net mitigating the environmental effects of any potential natural or human-made ecological disaster. It’s also a sort of United Nations; here you’ll find boxes of seeds deposited by both the United States and North Korea (and they’re quite literally on the same shelf, no less).  The Doomsday Vault is just one of many seed vaults and libraries catalogued in Dornith Doherty’s photographic series Archiving Eden: The Vaults, a body of work which documents our best efforts at ecological preservation. At Michigan State University’s Broad Art Museum, her work currently joins that of many other artists who collectively speak to the need for humanity to actively preserve Earth’s biodiversity.

Seeds of Resistance compellingly equates the preservation of seeds with the preservation of genetic information, cultural heritage, and cultural knowledge.  The show brings together a diverse body of work by international artists and educators who collectively assert the importance of biodiversity, and reflect on the human imprint on the environment, for better or for ill.  The show also celebrates the legacy of MSU’s own Dr. William Beal (1833-1924), the founder of the school’s W.J. Beal Botanical Garden, and whose Seed Viability Experiment remains the longest running scientific experiment in modern history.

Several prominent works on view emphasize the presence of healthy, living soil as integral to any vibrant ecosystem.  A large multimedia ensemble by Claire Pentecost invites us to consider the value of healthy soil by drawing a parallel between soil and currency.  Here, she stacks blocks of soil sculpted to resemble gold ingots; these are accompanied by twenty-six paintings arranged into a sort of triptych.  They collectively represent a hypothetical currency which Pentecost calls the soil-erg, a counterpart to the petro-dollar.  Using actual soil to render these images, each painting suggests a different type of imagined bank-note; some commemorate historic figures famous for their contributions to our understanding of agriculture, and others celebrate the non-human creatures that are an integral part of the soil-food web.  The earthworm and the bumblebee are championed along with Charles Darwin and Henry David Thoreau.

Seeds of Resistance installation view at the Eli and Edythe Broad Art Museum  at Michigan State University, 2021. Photo: Eat Pomegranate Photography

The works of Antonio Moreno and Dylan Miner also thoughtfully underscore the content of their art with the material they work with.  For his collective project Live the Free Fields, Moreno invited over fifty participants to fashion over 1,000 mushrooms out of clay (itself a type of soil), which here seem to be sprouting from the floor of the gallery space and together suggest the Earth’s many extant varieties of fungi.  Conversely, Dylan Miner speaks to the destruction of healthy ecosystems with a triptych showing a stretch of the Kalamazoo River, the sight of a massive oil spill in 2010.  To render the map-like painting, Miner applied bitumen, a type of crude oil, to give the painting its sludgy, oily appearance.

Seeds of Resistance installation view at the Eli and Edythe Broad Art Museum  at Michigan State University, 2021. Photo: Eat Pomegranate Photography

Seeds of Resistance installation view at the Eli and Edythe Broad Art Museum  at Michigan State University, 2021. Photo: Eat Pomegranate Photography

In an adjacent gallery space we find an ensemble of large photographic prints from Dornith Doherty’s Archiving Eden series.  Some of these unpeopled images come across as haunting and surreal.  Perhaps this is what we might expect, after all, of images documenting a place nicknamed “The Doomsday Vault” (though the place is more properly called the Svalbard Global Seed Vault).  Her series documents seed vaults and libraries all over the world though, and some of these libraries are actually very much alive, such as the apple tree collection at Cornell University in New York, which is an orchard preserving over 300 species of apple.  Fittingly, in this space her work is complemented with an actual library catalog, itself a conceptual work by Johannes Heldén and Håkan Jonson.  With the help of artificial intelligence, the artists filled the drawers of an old-style library catalog with 30,000 index cards, each describing some imaginary future species of creature made extinct by humans.  Inside this exhibition’s program/pamphlet, you’ll find several sample copies of these entries on 3×5 index cards (mine included an entry for “Megaptera citri,” described as a social, urban, nocturnal creature made extinct by humans in 2514 AD).

Seeds of Resistance installation view at the Eli and Edythe Broad Art Museum  at Michigan State University, 2021. Photo: Eat Pomegranate Photography

Seeds of Resistance installation view at the Eli and Edythe Broad Art Museum  at Michigan State University, 2021. Photo: Eat Pomegranate Photography

Seeds of Resistance installation view at the Eli and Edythe Broad Art Museum  at Michigan State University, 2021. Photo: Eat Pomegranate Photography

Supplementing the art in this gallery space are several tables which display artifacts and ephemera that belonged to Dr. William Beal.  Here we learn about Beal’s Seed Viability Experiment; launched in 1879, the experiment is still going on today, and it assesses the duration of the seed’s ability to remain dormant and still be able to sprout. The content here is historic and informational rather than artistic, but Beal’s importance to agricultural botany and his significance to MSU aptly makes him a central part of this exhibition.

With Seeds of Resistance, the Broad continues its fine tradition of programming that connects the visual arts with the sciences and other disciplines, and this show in particular makes excellent use of the University’s strengths as an agricultural school. Furthermore, the topic of preserving Earth’s biodiversity is certainly relevant.  In 2015, after all, as the direct result of civil war, Syria became the first country that found it necessary to withdraw the seeds it had deposited into the Spitsbergen Norway Seed Vault. It very likely won’t be the last.

Seeds of Resistance is on view at the MSU Broad through July 18.

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