Detroit Art Review – Page 2 – Critical art reviews of Detroit galleries and museums weekly

Echoes from the Rust @ Elaine L. Jacob Gallery

On October 29, 2024

In Drawing, Installation, Mixed Media, Paintings

Echoes from the Rust @ Elaine L. Jacob Gallery, Wayne State University

“Echoes from the Rust,” Elaine L. Jacob Gallery, Exhibition installation. All photos by K.A. Letts

It’s a tall order to ask a few to speak for the many, as these six artists from Detroit and Pittsburgh have been chosen to do in the exhibition “Echoes from the Rust,” on display at Elaine L. Jacob Gallery until January 10, 2025. The expansive theme of resilience in the face of hardship and of the importance of ethnic identity, immigration, labor, and location in the region’s artistic production could easily encompass the stories of 60 artists…or six hundred. But these half-dozen accomplished makers of images and objects, selected by independent curator Kemuel Benyehudah, describe as well as anyone can how midwestern values are shaped by personal experience, geographic displacement, and economic adversity.

Hubert Massey, Cityscape of Detroit, 1999, charcoal drawing on paper.

Narrative art enjoys exceptional credibility in the Midwest, where the ghosts of Thomas Hart Benton and Diego Rivera lurk in the consciousness of several of the exhibition’s artists. Eminent Detroit muralist Hubert Massey’s reverence for the craft of drawing is evident in the two semi-circular charcoal works on paper displayed on the gallery’s main floor. In these preparatory drawings for his frescos in the Detroit Athletic Club, carefully rendered architectural features of Detroit form a backdrop for monumental figures that would be at home in a depression-era WPA mural. N.E. Brown, of Pittsburgh, likewise traffics in the archetypal, with meticulously painted scenes of workers that range from the miniscule “Blue Collar” to “The Mill,” in which a masked and gloved worker rendered in burnt wood to graphically evokes the heat and dim light of an industrial environment.

N.E. Brown, Blue Collar, 2024, oil on canvas.

Like several other artists in the exhibition, Adnan Charara is an immigrant delivered in 1982 to Detroit by political upheaval in his native Sierra Leone. Charara’s family of Lebanese descent found a home in the Middle Eastern diaspora of Dearborn, while the artist himself found a vocation in fine art after completing his education in environmental studies and urban planning. Charara is that odd combination of a highly educated, yet self-taught, artist. Through his extensive self-guided studies, he has arrived at a style of expression that seamlessly combines a variety of art historical styles with his comic sensibility.

Adnan Charara, Unconscious, 2006, oil on canvas.

Charara’s three black and white silkscreen prints of workers, created in 2014, are reminiscent of Diego Rivera’s DIA murals, but represent less an homage to Rivera than Charara’s direct observations of industrial workers from the same source materials. Two large canvases, more typical of his current style, are wiggly, jittery masses of small figures crawling over and across a more-or-less undefined, yet urban, space. Hieronymous Bosch might recognize and approve of the anxious yet optimistic citizens of this no man’s land.

Omid Shekari, Is there a way Out, 2023, acrylic on industrial canvas.

Omid Shekari, another global transplant, arrives at the gallery from Iran by way of Pittsburgh. Displaced by the political upheavals in his native country, Shekari vividly remembers his experience as the victim of an oppressive regime, a past that continues to shape his art practice. He says, “My work looks at power and questions the levels of violence that it causes, as well as possibilities to resist such a phenomenon.”

Shekari’s musings on questions of political power and its oppressive use take form as imaginary architecture, metaphors for the cultural and political structures that imprison humanity. Seen as if from above, Body – Nation – State’s wall-mounted metal structure evokes a dream-like sense of displacement juxtaposed with a brutal reminder of human vulnerability. In the middle of this miniature built environment, a small piece of meat adds a jarring note of corporeality. Human fragility hangs suspended and displaced, surrounded by an edifice both shadowy and solid. The same aerial point of view shows up in Shekari’s painting Is There a Way Out, depicting a claustrophobic vision of a nation imprisoned. The same theme is revisited in his metal sculpture, Nation [government-bank-armed forces-prison] State, a seemingly impenetrable labyrinth for holding in –or keeping out–something. Is it information? Free thought? Free expression?

Halima Afi Cassells, Gold Cash Gold, 2024, paper cut.

Halima Afi Cassells views the state of the Midwest with guarded optimism through the lens of her deep cultural roots in the city of Detroit. Her carefully crafted paper cuts acknowledge the importance of technical mastery in a region known for making things. Three delicate artworks privilege the aesthetic over the political, but her strong social justice message is fully displayed in her 17-minute video, Detroit Future State. Composed of two parts, Detroit Future State is a polemic in which the ideal is contrasted with the real. In the first part of the video, an elegantly clothed and coiffed Cassells describes a utopian Detroit future as if it has already come to pass, with community gardens, abundant housing, and adequate healthcare. At the end of this blissful description, Cassell trades her fashionable costume for down-to-earth street clothes and delivers—in black and white–a wry description of things as they actually are in the city.

Josh Challen Ice, Held Together, 2024, plywood, plastic, construction lumber, ratchet strap, blue tape, inkjet print.

The exhibition’s underlying theme honors the importance of labor in defining the soul of the rustbelt, past and present. It finds its most elegant expression in constructions by Pittsburgh artist Joshua Challen Ice. Ice honors the value of beauty and the importance of craftsmanship in the making of things. He creates each object and installation, often from upcycled materials, with precision while leaving evidence of his labor in the form of clamps, stamps, and straps. His remarkable sculpture, Held Tight, is an impressive example; it replicates the shape of a strand of DNA beginning at ground level and traveling upward. Beautifully created in wood and wrapped around one of the gallery’s central pillars, the construct echoes the architecture of the spiral staircase nearby. Left on one of the crosspieces, as if by accident, is a workman’s jacket, a reminder that these unique and impressive objects are made by someone.

“Echoes from the Rust” is an exhibition in which superior technical and formal expertise serves the artists’ progressive vision. Each artist’s output reflects, in its own way, a shared ethic of hard work, craftsmanship, and social justice. There is an abiding optimism in the work that describes an often neglected part of America, brought together here in a celebration of resilience and grit.

“Echoes from the Rust,” Elaine L. Jacob Gallery, Installation. Background: Hubert Massey Cityscape of Detroit, 1999, charcoal drawing on paper. Foreground: Josh Challen Ice, Absent Hands, 2024, construction lumber, ink stamp, concrete.

Echoes from the Rust @ Elaine L. Jacob Gallery, Wayne State University, on display until January 10, 2025.

Lois Teicher @ Galerie Camille

By Michael Hodges

On October 13, 2024

In Drawing, Sculpture

Lois Teicher, Quiet Performance: The Stillness of Shape at the Galerie Camille

An installation shot of Lois Teicher – Quiet Performance: The Stillness of Shape, at Galerie Camille in Midtown Detroit, up through October 19. In the picture, Teicher is the one gesturing with her hands. (Photos courtesy of Galerie Camille, except where noted.)

Sculptor Lois Teicher has mastered the art of weightlessness, which is all the more challenging when working in steel and aluminum. Whether diminutive or huge, her curved, geometric forms in strong primary colors pose as delicately as dancers, high-wire acts often seeming to balance on one toe. In her new show at Detroit’s Galerie Camille, Quiet Performance: The Stillness of Shape, the eighty something artist who’s still working at full clip gives us a range of her small works, a couple of which echo her massive public sculptures in Detroit and elsewhere.

Lois Teicher, Curved Form with Rectangle and Space – ed 21, Aluminum.

The best example of that echo is Curved Form with Rectangle and Space – ed 21. The descriptive title pretty much sums it up — this is a narrow, concave rectangle, maybe 8 inches tall, balanced on one corner and leaning slightly to the left, with a tall, symmetrical hole cut slightly off center within the dark-blue metal. People who know Detroit well will experience a jolt of recognition, for this is the exact form – almost a tiny maquette – of Teicher’s 14-foot-high, white sculpture of the same name that’s the commanding centerpiece of the Hudson’s Art Park between the Scarab Club and John R Street, right behind the Detroit Institute of Arts. In his highly useful guide to the city’s public sculpture, Art in Detroit Public Places, critic Dennis Nawrocki notes that the opening cut in the work allows the viewer to see through, “subtly playing with negative and positive space.”

There’s something immensely satisfying and graceful about both pieces, small and large. In the case of the latter, which went up in 2000, the sculpture brings a stamp-sized pocket park alive that years ago had been nothing but a drab patch of grass. Students of Detroit urbanism won’t be surprised to learn that the park was the brainchild of urban planner Sue Mosey at the University Cultural Center Association (now Midtown Detroit Inc.), who in her 30-year career brought countless overlooked bits of Midtown back to vibrant life. In this case, Teicher’s sculpture delivers a striking grace note on a stretch of road that was in desperate need of it.

Galerie Camille director Marta Carvajal, who curated the show, praises Teicher’s gift for simplicity and “the unstable balance – she finds balance using the least amount of surface. Her mind,” Carvajal adds, “works on a different level than ours, with very sophisticated laws of physics.”

Lois Teicher, Curved Form with Rectangle and Space, Powder-coated stainless steel, 14 x 7 feet, 2000. (Photo: Detroit Art Review)

Teicher, who lives in Dearborn, graduated from Detroit’s Center for Creative Studies (now the College for Creative Studies) when she was 61, after raising her three children, and then went on to get her MFA at Eastern Michigan University. She currently maintains a studio in Eastern Market. Working with fabricators and engineers, Teicher has immersed herself in industrial processes that would scare off many, developing, as Maryann Wilkinson, former executive director of the Scarab Club wrote in Essay’d, “a unique style for large-scale sculpture that emphasizes tension and a suggestion of movement that serves to deny her work’s complexity and weight.”

That tension is equally present in the mostly diminutive work on display in Quiet Performance, like the 10-inch-high Dynamic, which stars a bowed crimson circle a bit like the rising sun on the Japanese flag, pleasingly perched at the far left edge of a convex white platform. It’s a graceful, beguiling orb – and one that’s echoed in Cosmos, one of a number of pencil-and-oil compositions framed on the wall, though it must be noted that in the case of Cosmos, the painted “sun” is rising out of a nebulous, sooty cloud.

Lois Teicher, Dynamic, Welded aluminum, 10.5 x 12 x 7 inches.

It’s hard to escape the conclusion that the artist just likes playing with elemental geometry, as with the mid-sized, dark-blue sculpture, Linked. Here Teicher gives us two flat circular discs intersecting at right angles, almost as if a circular buzz saw had made it halfway through a flat circle before stopping. Again, the composition is perfectly balanced on the two rims, yet also suggests imminent collapse, however unlikely.

Lois Teicher, Linked, Aluminum & enamel, 13.5 x 26 x 19 inches.

An undeniable touch of whimsy also permeates another of Teicher’s ink and oil compositions on the wall, Envelope Series 3 – a loosely rendered picture of two overlapping envelopes, each unsealed with the flap sticking straight up. There’s something about the concept’s lack of consequence – Really, a painting of envelopes? – that makes the conceit amusing. But there’s real visual interest here, too, in the way Teicher has turned the simplest of images into an affecting color study. An open business envelope seen from the back, of course, divides into five isosceles triangles — three very broad, and two quite narrow. In this work, the bottom of the top envelope is colored with deep crimson that edges over the lines, while its partly covered cousin is smoky black on the outside and a strong yellow within. The work is simultaneously oddball and charming.

Lois Teicher, Envelope Series 3, Ink, oil sticks, Bristol board, 14 x 16 inches.

Playfulness or capriciousness also seems to have been the leitmotif behind Teicher’s first big public commission in 1996, which is worth mentioning in any essay about the artist. Paper Airplane Series with Deep Groove was constructed for Flint’s Bishop International Airport. Three separate sheets of steel have been folded into the classic shape of childhood paper airplanes. The largest sits on the floor in the airport’s main terminal and is painted white with blue lines to perfectly mimic the sheet of school paper commonly employed for the purpose. There are even holes for the standard three-ring binder. It doesn’t get any better than this.

Lois Teicher, Paper Airplane Series with Deep Grove, Bishop International Airport, 1996.

Lois Teicher’s Quiet Performance: The Stillness of Shape is up at Galerie Camille in Midtown Detroit through October 19. The gallery will host an artist’s talk on October 18 from 5 to 8 p.m.

Ethiopia at the Crossroads @ Toledo Museum of Art

By K.A. Letts

On October 8, 2024

In Ceramic, Paintings, Photography, Prints, Sculpture

House of Yatreda (est. 2021), Abyssinian Queen, 2024, 1/1 NFT single-channel video. “Beneath the dense canopy of an ancient forest that divides her realm and blurs the line between history and legend, the Abyssinian queen journeys from one kingdom to another within historic Abyssinia, carried with solemn grace by her devoted attendants.” All photo images by K.A. Letts unless noted.

Ethiopia’s long history as an important but often overlooked center of world art is getting a sweeping survey in the Toledo Museum of Art’s newly opened exhibition, “Ethiopia at the Crossroads.” From now until November 10, images and objects from the horn of east Africa illustrate the region’s importance as a point of contact for trade and cultural exchange beginning in the 7^th Century BCE. Myths and stories derived from a wealth of sources, from indigenous religions to archaic Judaism to Byzantine Christianity and Islam, form the basis for a composite culture that is uniquely coherent and remarkably complex.

In antiquity, the Nile provided Ethiopia’s traders and envoys with access to Egypt and the civilizations of the Mediterranean Sea. Contact with the Byzantine empire brought eastern orthodox Christianity, which then developed, in conjunction with other local mythic influences, its own idiosyncratic religious identity. Ethiopia was only the second country—after Armenia–to adopt Christianity as its state religion in the 4^th century CE.

(l. to r.) Cross with St. Blaise, 10-11 c., copper alloy (Walters Art Museum), Processional Cross, 10 c. – 12 c., brass alloy, (Dallas Museum of Art), Processional Cross, 13 c. bronze, (Institute of Ethiopian Studies Abbas Ababa)

“Ethiopia at the Crossroads“ can be described as two exhibitions in one, actually. One collection of artworks, along with extensive photo documentation, centers on the country’s rich and lengthy art history. Another strand of the exhibition, woven seamlessly into the historical record, presents the work of contemporary Ethiopian artists and makes a convincing case that these living creatives are successfully carrying their unique cultural identity into the 21^st century.

After entering through the circular rotunda at the beginning of the exhibition, museum visitors will journey through a complex narrative of the region’s cultural patrimony that includes more than 225 artifacts stretching over 1750 years. Devotional painted icons, manuscripts, coins, textiles and basketry, metalwork and carved wood crosses of various scales from periods from 7 century BCE through the 19^th century CE form a beautiful and emotionally resonant parade that marches down the center of the main gallery. The exhibition design features a long, purpose-built terracotta-colored display structure that organizes what could easily be a baffling collection of diverse influences and objects. On the outer perimeter of the central structure, smaller groupings of objects amplify elements of Ethiopia’s long and complex story. Included in these collections are small, glazed black terracotta figurines characteristic of the Ethiopian Jewish community and wooden Waakaa memorial figurines from the Konso people of South Ethiopia. Illuminated manuscripts of both Christian and Islamic provenance are represented as well as magic healing scrolls that illustrate the hybrid beliefs characterizing Ethiopia’s Orthodox Christianity.

Folding Processional Icon in the Shape of a Fan, late 15 c., tempera with ink on parchment, wood handles, 24 ¼” x 154 1/8” x 4 ¾” (Walters Art Museum) photo: Toledo Museum of Art

The gallery holds a particularly rich trove of religious artifacts from the liturgical history of Ethiopia. A standout is the rare Folding Processional Icon in the Shape of a Fan, created in the late 15^th century and one of only 6 known to exist. Illustrating the influence of European artists in icon painting are two side-by-side pictures representing the Madonna and Child. The two paintings demonstrate how European religious tropes were routinely translated into Ethiopian visual language. One is by Ethiopian artist Fare Sayon (active 1445-1480,) and the other is from the workshop of Venetian Bartolomeo Vivarini (ca. 1485.) Using the vivid colors characteristic of the Ethiopian palette, Sayon makes the image his own by adding two flanking angels important in Ethiopian Christianity, Michael and Gabriel, and interpolates elaborate textile patterns into the figures’ garments.

(l. – r), Fare Sayon (Ethiopian) Diptych (right panel) Virgin Mary and Christ Child with Archangels Michael and Gabriel, ca. 1445-1480, glue tempera on panel Workshop of Bartolomeo Vivarini, Venice, Madonna and Child, egg tempera on panel.

The co-location of work by contemporary Ethiopian artists alongside historical artifacts demonstrates how a coherent identity based upon shared myths and traditions has persisted over time. Of particular interest is work by the House of Yatreda, a family-based artist collective now in a year-long residence at the Toledo Museum of Art. At the entrance to the exhibition, a large photo portrait (Mother of Menelik) minted on blockchain combines the traditional folklore of Ethiopia with web-3 technologies. The House of Yatreda’s leader, Kiye Tadele, poses as Makadda, the legendary Queen of Sheba, pregnant with Menelik, the offspring of King Solomon and founder of Ethiopia’s Solomonid dynasty. In a large gallery towards the back of the exhibition, a series of large-scale black and white single-channel videos by the House of Yatreda, entitled Abbysinian Queen, is on display. Described as “in the style of tizita (nostalgia or longing for the past),” the narrative follows the journey of an imaginary Ethiopian queen traveling through mystical forests to new kingdoms.

House of Yatreda (est. 2021), Mother of Menelik, 2023, NFT single channel video, photo: Toledo Museum of Art

The many creatives in the exhibition are a testament to the ongoing vibrancy of the region’s visual culture. Elias Sime of Addis Ababa, London-born Theo Eshetu, and Helina Metaferia of Washington, D.C., among many others, showcase the ongoing cultural significance of present-day Ethiopian art. Their work demonstrates that the artists share a strong stylistic correspondence between their art’s historical antecedents and their own work. Elias Sime’s Tightrope, Zooming (2012), now in the collection of the Toledo Museum of Art, is an elaborate longitudinal mosaic made from discarded elements of digital technology—circuit boards, computer keyboards, and the like. Helina Metaferia has created her version of a traditional metalwork crown that carries a meaning that is both royal and religious. With it, she honors Empress Taytu Betul, a national hero of the resistance against the invading Italian army in 1896. The traditional crown installed next to it shows, once again, the common sensibility that unites these artists with their patrimony.

Elias Sime, Tightrope, Zooming (2012), reclaimed electronic components and assorted small ephemera on panel, 83 ½” x 313” photo: Toledo Museum of Art

The abundant and varied collection of artifacts that makes up “Ethiopia at the Crossroads” is deserving of multiple visits, but if you can make only one trip, the beautifully illustrated and scholarly catalog of the exhibition is highly recommended and available from the Toledo Museum. Ethiopia at the Crossroads, edited by Christine Sciacca, is a comprehensive introduction to this neglected yet significant sub-section of world art history.

(l. – r.) Crown, 18-19 c., brass (Peabody Essex Museum) Helina Metaferia, Crown (Taytu) 2023, brass sculpture with etching (Toledo Museum of Art).

Ethiopia at the Crossroads @ Toledo Museum of Art, on display through November 10, 2024. https://toledomuseum.org/exhibitions/ethiopia-at-the-crossroads

Lester Johnson @ Stamelos Gallery

By Sean Bieri

On September 27, 2024

In Mixed Media, Paintings, Prints

Four: Lester Johnson’s Selected Works, September 12-December 8, 2024, Stamelos Gallery Center, University of Michigan Dearborn

Lester Johnson, Four: Lester Johnson’s Selected Works, Installation View

Before visiting the exhibition Four: Lester Johnson’s Selected Works, give a listen to the 1954 jazz standard, performed by the Miles Davis Quintet, that lends the show its title (if you forget, there’s a QR code near the front of the gallery that will take you to it). Calling the tune “toe-tapping” is a little corny, but — see if you can resist. A wall plaque says the song celebrates “four cherished things in life: truth, honor, happiness, and love.” Those all seem to be in short supply of late, replaced instead by bias, expediency, dopamine hits, and heart emojis. But there’s plenty of all four on vivid display on the walls of the Stamelos Gallery, as venerable Detroit artist and educator Lester Johnson takes every opportunity to share his spotlight with a pantheon of family, friends, artists, ancestors, teachers, musicians, and personal heroes that have helped shape and inform his art over the course of his long career. Consider the second part of the show’s title: it’s not “Selected Works of Lester Johnson,” but “Lester Johnson’s Selected Works,” a subtle difference that shifts the focus more to the works, all of which are, to some extent, group efforts, even if only via musical inspiration. This is true of the work of many artists, but Johnson, in the titles of his art and in his commentary on wall labels throughout the show, foregrounds this communal aspect, never missing a chance to generously acknowledge his collaborators and muses.

Lester Johnson, Elaine’s Gift, 2010 Fabric, fiberglass, paint, and tape.

Notice the number of titles that include the names of others: Marlene’s Gift; Elaine’s Gift; Claudia’s Choice, a nod to a friend who brought back printed cloth from a trip to Africa for Johnson to use in his art; Lynn’s Song, a multicolored work in cast paper dedicated to Lynn Forgach, director of the Exeter paper company in New York, with whom Johnson collaborated in the early ‘80s at the suggestion of another great Detroit creative, Al Loving. The tag for the piece even includes nods of gratitude to the student apprentices at Exeter for helping Johnson expand his abilities.

Lester Johnson, Alma Thomas, Digital Print, 2018.

The painter Alma Thomas, whose mosaic-like abstractions share the bright hues used in many of Johnson’s works, is honored in a tapestry-like digital print. The print itself is mostly in muted browns and blues, a collage combining African motifs, a photo of women stitching a quilt, a gnarled glove holding an auto worker’s ID badge, and a picture of Thomas at work on a painting, suggesting a kinship across time and space between these various forms of the labor of Black hands.

Lester Johnson, A Garland of Praise Songs for Rosa Parks, 2013 Fabric, wood, and paint.

A Garland of Praise Songs for Rosa Parks is dedicated to the storied civil rights icon, as well as to America’s longest-serving Black judge, Detroit’s Damon Keith. (The piece resides in the Damon J. Keith Center for Civil Rights at Wayne State University.) It’s the largest example on display here of Johnson’s “totems” — staff-like cylinders of wood or fiberglass, wrapped in twine, tape, reeds, digital prints featuring colorful patterns, or, more often and most strikingly, fabric printed with African designs. Attributed on Johnson’s website to his African and Native American spiritual heritage, the totems call for “a cross-cultural exchange of energy and vision.” Standing vertically in collections of eight, ten, as many as 26, most of the totems are a few feet tall, but even those made of paper that are no taller than one’s hand project an aura of strength, confidence, and authority. The totems appear again worked into Johnson’s multiculturally-inspired “kimonos” — robe-shaped wall hangings weaving together Japanese, African and Australian Aboriginal influences. Built into the kimonos like columns or spines, the totems lend the garment-like constructions an almost architectural stability. The kimonos displayed here are named in honor of Nelson Mandela, Judge Ketanji Brown Jackson, and Egyptian queen Nefertiti.

Lester Johnson, Kimono Nefertiti, 2009 Mixed media.

Johnson was born in Detroit in 1937; born that same year, just a few blocks from where Johnson would grow up, was the Blue Bird Inn, the legendary nightclub that hosted a stellar line-up of modern jazz players in the 1950s and ‘60s. Jazz music has greatly informed Johnson’s work through the years, particularly that of Miles Davis, who lived in Detroit briefly in the mid-‘50s. Davis and his music are mentioned a number of times in Four. An airbrushed painting from 1972 named for his influential 1959 album Kind Of Blue features arcs and angular shapes, leaning back to the right against a blue background. The shapes are striped with what look like tire tracks, as if pointing out the musician’s Motor City connection. As recently as this year, Johnson evoked Davis again with In A Silent Way Miles Davis and Wayne Shorter Tribute, an upward-pointing triangle of nine interlocking pyramids, painted a cool blue. The many facets of the structure cast shadows and catch the light, creating varying tones and intensities of color, perhaps even suggesting dignified facial features.

Lester Johnson, In A Silent Way Miles Davis and Wayne Shorter Tribute, Mixed media, 2024.

Johnson honors other musicians here as well. The woman known as “Mama Africa,” South African anti-apartheid activist and Afropop star Miriam Makeba, is commemorated with a collection of twelve richly patterned totems. Motown’s Gladys Knight inspired a 1974 print that comprises several panels of hard-edged black-and-white angles and stripes, like noir-ish depictions of urban architecture, countered by single red square with a record-like circle inside, a point of stability in a field of anxiety. John Coltrane Print from 1969 has the hip feel of jazz album graphic design. A 2005 abstract painting, showing colorful vertical stripes reminiscent of Johnson’s totems emerging from behind a green triangle, is named for the Luther Vandross song Never Too Much. A similarly vivid abstract work from the same year, named for the Thelonious Monk standard Round Midnight, features (ironically) areas of sunny yellow intersected by a purple field and a blue triangle, suggesting a passageway.

Lester Johnson, Total Eclipse, Acrylic, 1971.

One of the few works here that doesn’t bear someone’s name is Total Eclipse from 1971, an acrylic painting made up of 35 squares with circles inside, each intersected and subdivided by lines and angles like a pie chart. Despite the title, none of the circles is entirely occluded, and none are without shadow. Each “lunar” disc has some part shaded in, and each angular segment of the squares is painted in varying shades of blue and purple, or else white. It’s not a scientific diagram nor a mystical chart, but it looks like it could be either if you knew how to read it. As it is, the image seems to flicker like a multi-faceted gem, an ode perhaps to diversity and perpetual change.

There’s a lot of “cool” in this show — cool colors, cool music — but the overall vibe is a warm one, celebratory and grateful. Seen as a portrait of Lester Johnson, the exhibit is testimony to how any of us are, in many ways, collages of the people we’ve let into our lives — the ones who have informed and inspired us. It might be a fruitful and fun question to ask one’s self: “Whose names would appear on the wall tags if this was my show?”

Four: Lester Johnson’s Selected Works, September 12-December 8, 2024, Stamelos Gallery Center, University of Michigan Dearborn.

Jim Chatelain @ Oakland University Art Gallery

By Michael Hodges

On September 21, 2024

In Drawing, Paintings

An installation view of Jim Chatelain: Correcting Past Mistakes, will be up at the Oakland University Art Gallery through November 24, 2024 (Photos courtesy of OUAG, except where noted.)

Continuing its tradition of outstanding exhibitions, the Oakland University Art Gallery presents Jim Chatelain: Correcting Past Mistakes, up through November 24. The 40 works on display, created between 2001 and 2024, represent an eruption of color and tangled abstraction, in some cases intriguingly intestinal in appearance. Altogether, the show opens a fascinating window on the non-figurative work of the celebrated Cass Corridor artist, now in his mid-70s, who’s still producing at an impressive clip.

Many people may be familiar with Chatelain’s earliest paintings that caused a sensation in the much-talked-about 1978 “Bad” Painting show at Manhattan’s New Museum — crudely outlined urban figures of the sort you might have seen on Cass Avenue in those years, rendered with seemingly slapdash brushstrokes and an air of menace. Subsequent figurative work involved a weirdly magnificent series of facial portraits, full of distorted and bulbous features, that – never mind their odd appearance – manage to be both poignant and disturbing in equal measure.

In a biographical essay for the Paul Kotula Projects gallery in Ferndale, Robert Storr – who long headed the Museum of Modern Art’s department of painting and sculpture – urged art enthusiasts to “take a walk on the wild side with [Chatelain] as your guide. You’ll meet a cast of hard-bitten urban types, [with] extraordinary toughness whose heavily lined faces bear the unmistakable trace of what it takes to just keep going in the late modern purgatory that is big city life in our time. Chatelain knows these people inside and out; he’s their recording angel.”

Jim Chatelain, Untitled, Acrylic paint, paint pen 0n linen paper, 24 x 20 inches, 2023.

Compared with those gritty predecessors, one of the delights of Correcting Past Mistakes is just how beautiful these twisted abstracts, often suggesting collapse and calamity, really are. Curator Ryan Standfest, an artist who teaches at Oakland and has long been a Chatelain admirer, describes the works as “frenzied and active” with an “aura of tumult.” Yet these are meticulously crafted works, never mind their vaguely cartoon-like appearance. “The paintings are vibrant, with colors that pop,” Standfest says. “One color doesn’t cancel out the other – they support each other quite well.” This echoes the artist’s own appraisal. In an interview with Standfest in the show’s handsome catalog, Chatelain describes his choice in colors as “really pop-y. My palette is really like that. It’s the blue of the Superman costume and the red of the cape.”

Chatelain, who maintains a studio in Ferndale as well as one in Delhi, New York, about 120 miles from Manhattan, hails from Findlay, Ohio. In 1967, he transferred from Findlay College to Wayne State University, sight unseen, graduating with a BFA in 1971. While at Wayne, he studied painting with John Egner, a professor who was a co-founder of the legendary Willis Gallery and a key mentor to much of the early Cass Corridor talent. Their collective work finally got the official stamp of approval in 1980 when the Detroit Institute of Arts pulled together the seminal show Kick Out the Jams: Detroit’s Cass Corridor 1963-1977.

Jim Chatelain, Basket, Acrylic paint pen with vinyl paint on paper and mat board, 21 ½ x 17 inches, 2024.

The recent abstracts on display at OUAG are remarkably immersive and seductive. Go ahead — just try to resist their labyrinthine magnetism. In her catalog essay, critic Lynn Crawford describes the works as “unfamiliar, uncanny, yet bursting with life.” And indeed, it’s hard not to get sucked into their twisted contours, where something – digestion, perhaps? – is clearly going on. For her part, Crawford refers to “blended strands of lifeforms” that “radiate an energy and are possibly equipped to take on initiatives themselves.”

Yet there’s also a series of constructions that employ Phillips-head screws as their chief element and mostly rely on a muted palette that stands in sharp contrast to the boldly colored works that constitute the majority of the show. One can’t help but be struck by the exertion that went into these pieces, and they manifest an air of struggle and threat that sets them apart, echoing some of the ominousness in Chatelain’s early figurative work.

Even the title of one, Head on a Plate, implies danger. Standfest laughs when asked about these works. “There are an insane number of screws on them,” he says. “Talk about violence! Just imagine Jim screwing each one of those in, over and over.” He adds, “I’ve never asked him if he had a strategy, whether he marked off where they would go or just made it up as he went along.”

Jim Chatelain, Head on a Plate, Enamel paint, screws on plywood, 48 x 32 inches, 2001.

Jim Chatelain, Head on a Plate (detail), Enamel paint, screws on plywood, 48 x 32 inches, 2001. (Photo: Detroit Art Review)

Yet the title above also points to another key element of Chatelain’s oeuvre, a dark humor that ripples through many works. Standfest argues there’s “something of a violent physical comedy to Jim’s work that links to the [earlier] figures in some ways. He describes the figurative work as ‘situations,’ and there’s a tension in that.” Chatelain himself acknowledges a certain puckishness to much of what he’s produced. “In those early 70s figure paintings, there’s humor in those. They’re cartoonish in some ways,” he says. “It’s a little harder to do with the abstract work, but I think it can be done, [though] I can’t say that’s the case with all of it or most of it.” Chatelain sums it all up in a refreshing artistic philosophy: “It’s a failed painting that doesn’t have a little humor coming out of it.”

Jim Chatelain, The Caged Flea, Acrylic on canvas, 72 x 96 inches, 2015.

The gallery will host three talks open to the public before the show closes. On September 26, curator Ryan Standfest will lead a walkthrough of the show. On October 30, Dan Nadel, who’s curating an alternate history of American art in the 1960s for New York’s Whitney Museum, will speak. On November 6, Standfest will interview Chatelain. All gallery talks take place at noon.