Elizabeth Youngblood @ 9338 Campau

 ” Righted” – A Trajectory of Work by Elizabeth Youngblood – A retrospective work in progres

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Elizabeth Youngblood, Installation

ElizabethYoungblood defines herself first as a craftsman. A quote that describes her trajectory well is a simple one- “I respect making.” The broad range of media she employs- textiles, drawing, basket-weaving, ceramics, wire sculpture- attest to her democratic fealty to a very personal, singular hunt. With Righted- A Trajectory of Work by Elizabeth Youngblood, Youngblood has transformed 9338 Campau’s sprawling Hamtramck gallery space into a hive of activity, presenting her work in an unprecedented format- a retrospective that includes works in progress that Youngblood is developing within the gallery itself. She is taking advantage of the vast amount of space there to both gather her work into one place large enough to give it breathing room, and realize large works on paper that she has long desired to explore but hasn’t had the space, until now, to properly develop. Youngblood’s residency at 9338 Campau feels revolutionary, both for an artist in full command of her powers with a distinguished career in the bag already, and for an explorer who makes the most of every space she is given for her work to take center stage.

Asked to qualify her vast body of work into a single context, she explains how one branch of her exploration leads, maintaining conceptual consistency, from one medium to the next. Youngblood’s devotion to mastering the strengths of every material that passes through her hands, and the joy she takes in immersing herself in the process of finessing each one, gently, into her lexicon, is doubly striking in the context of Righted, where one can view long-culminated works alongside raw, vulnerable works in progress. The very presence of the works in progress casts Youngblood’s retrospective work in an unusual light- as open-ended, questioning works in progress themselves. This impression suits Youngblood’s whole-hearted focus on process as a studio practice- allowing the current of her concept to carry her from medium to medium, presenting each work as a direct flowering from the clues unlocked, and the questions raised, in the last.

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Elizabeth Youngblood, Woven Black Piece, 1992-93 All Images Courtesy of Clara DeGalan

Talking with Youngblood about her work reveals the ultimate unimportance of form in her studio practice. This came as a surprise in light of the striking formal continuity I made out in her work- indeed, it was the first thing that enabled me to pass cohesively from one piece to the next, given what different media she ropes in. This formal consistency, it turns out, is Youngblood’s soul pattern, a template on which she explores such concepts as the dogged devotion of craftsmanship, the solitary joy of wreathing visions out of tactility, and the construction of planes out of lines.

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Elizabeth Youngblood,Untitled, 1995

Youngblood’s artistic chronology mirrors her bodies of work. Trained as a graphic designer, she has worked in that profession, on and off, since her tenure as an undergraduate student at the University of Michigan. She is quick to point out, rightly, the subtle craft demanded by graphic design. Between her design work, her teaching career, her years spent in New York, and interludes in craft-oriented industries such as bar-tending, she has snatched pockets of time to hone her planar exploration in various media at artist residencies such as Haystack and Penland School of Crafts. Her travels have pulled a variety of media into her exploration- her vision remains remarkably consistent as she applies it to different traditions of making. She emphasizes the importance of material and craft as a conduit toward greater understanding of place, such as North Carolina and its history as a hub of furniture craft (the baskets on display in Righted were created at Penland, inspired by the materials and methods of furniture-making.)

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Elizabeth Youngblood, Twin Baskets, 1999

This breath of Place, in turn, enriches Youngblood’s exploration of process as a path toward distillation of an artifact of conceptual, rather than utilitarian or formal value. Youngblood speaks with quiet admiration of the traditions of crafting she has been privileged to explore, and how they have added their own regional, historical voices to her practice.

As she continues to explore, chasing her vision of planes built of carful, joyous repetition, Youngblood pulls traditional craft forms, seemingly effortlessly, into a body of work that maintains an astonishing formal trajectory, presenting razor-sharp meditations on process in various media encased, almost like home-jarred preserves, within an all-encompassing, monolithic form. The form, seductive and enigmatic as it is, is no more than a ground for her process. Asked her opinions on the tension between fine art and craft, high and low art, she expresses less interest in that argument than in the status of media as “women’s work” versus “men’s work.” The large-scaled drawings Youngblood is developing during her tenure at 9338 Campau are an exploration into a quicker, more decisive way of making that has historically been associated with the bodies and thought processes of men.

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Elizabeth Youngblood, Large Drawing 1, 2016

“Men’s work” as Youngblood describes it, seems less a political appropriation on her part than a desire to master yet another craft- one she, for the moment, has the physical space to pursue. Spending time with Youngblood in her studio is a lesson in veneration for processes that unite, rather than polarize, the complex history of making as it indexes various times, places, social demographics, races, and genders. To sum up, Youngblood respects making, and, though she is acutely aware of the cultural associations that come with each material she ropes into her vision, her devotion to process and skill-building manage, miraculously, to shed the oppressive political discourse that has hung around craft for decades and present it, unilaterally, as a vast conduit for exploration of an artist’s conceptual vision. Youngblood’s is a true Twenty First Century studio practice- and she’s earned it.

Righted- A Trajectory of Work by Elizabeth Youngblood has percolated at 9338 Campau Gallery in Hamtramck, MI throughout the last breaths of summer. A public reception of her work will be held on Saturday, 9/24/2016 from 7-10 pm.

9338 Campau

Sensuous Memento @ the River House Arts

Mori Megan Biddle, Amber Cowan, Jessica Jane Julius, & Sharyn O’Mara – Hush.ex Exhibition at River House Arts, Toledo, Ohio

There are exciting things happening at the Toledo Art Museum, the University of Toledo, and the gestating organization that will soon be on everyone’s radar, Contemporary Art Toledo, this September. Contemporary Art Toledo, the brainchild of Brian Carpenter (lecturer and gallery director at the University of Toledo) and Paula Baldoni (director of River House Arts Space) is currently based in the gorgeous River House Arts Gallery in downtown Toledo. Hush.ex features the work of four artists whose common thread begins with the historically and regionally loaded medium of glass.

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River House Arts, Hush-ex, Installation, All Images Courtesy of Clara DeGalan

Once upon a time, glass production was a massive industry in Toledo. Its status as a serious craft has passed out of our cultural consciousness, much as other craft-oriented industries that once anchored Midwestern economies have shifted locus or become altogether obsolete. Toledo, however, has preserved its status as “The Glass City” through a symbiotic relationship between industry, education, and fine art that has guided glass craft through industrial decline, out of factories and into studios, ultimately accumulating an incredible collection of glass art (initially through the patronage of Edward Drummond and Florence Scott Libbey, founders of both Owens Corning Glass Manufacturing and the Toledo Museum).

The artists of Hush.ex (all of whom teach in the Glass Program at Tyler School of Art, Temple University) engage with the historicity and mundanity of this medium that permeates our lives at almost every moment without making its presence felt. The work illuminates that very mundanity, and uses it to begin a dialog about the things we touch, use, and interact with daily, and how quietly loaded with history, both emotional and indexical, this slippery, medium-bridging material is.

Glass is a substance that we live with and touch frequently as part of our daily life. We open windows, handle drinking glasses and plates, navigate touchscreens. We know what glass feels like. And, if you’ve ever been a child surreptitiously handling a weighty, faceted objet de art or a precious piece of porcelain, you know that glass feels good. It’s a crafted substance that invites direct interaction in every way. It’s almost an extension of our bodies, and it’s certainly played a major role, historically, in preserving our experiences in sensuous, precious, yet powerful cartouches. The artists featured in Hush.ex tap directly into that sensuous, indexical role glass possesses (to a maddening degree- I’ve never felt a stronger desire to touch works of art in an exhibition).

Amber Cowan’s turgid glass sculptures channel both mid-century gewgaws and the horror vacui principle of nature to craft strangely familiar, subversively scaled vessels and wall pieces that burst with an uncanny appropriation of organic growth and mind-numbing decorative beauty. Her works bear such titles as “Wedding Compote with Thorny Vine,” and “Candle Stick.”

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Amber Cowan, Rosette Milk & Ivory flame worked pressed & sheet glass, mixed-media

The works of Jessica Jane Julius dialog with mundane objects of a very different order- the ephemeral static and digital flickerings that glass bears into our environment via television and smartphone screens. The buzzy surfaces and odd static/dynamic quality of her installations speak to the mercurial loyalties of glass, as an almost magical medium between our reality and pure, abstracted information.

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Jessica Jane Julius, Extruded hot pulled & kiln cast glass, metal – 2016

The theme of glass as a vessel for memory brought uncannily into real space is most directly engaged by Sharyn O’Mara, whose pressed glass burnout drawings most directly reference Nineteenth Century memento mori keepsakes. Such objects were meant to preserve a physical trace of a deceased loved one available for viewing through impenetrable glass. Through an intense process of compressing objects between panes of glass and firing them into carbonized fossils, O’Amara has preserved, among other keepsakes, tufts of hair from beloved dogs that caramelize in their pressed glass coffins into delicate, snowflake-like strata of tangled tendrils that reference lovely, closely observed charcoal drawings.

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Sharyn Omara, Botanical 4-carbon burnout drawing on glass, 2016

Megan Biddle’s sculptures also invoke drawing, taken off the wall into three dimensional collisions of line and material. Again, there is a reference to preservation and enclosure here- her home appliance scaled sculpture “Converge” occupies a corner of the gallery like an old-timey television set, transmitting a quiet meditation on converging, geometric lines rather than moving bites of information.

The overarching theme of preservation of historical, beloved objects and memories within this medium that feels simultaneously earthy and ephemeral, tactile and fragile, inviting and forbidding to touch.

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Jessica Jane Julius, Static puddle hot pulled & kiln fused glass, 2016

Hush.ex coalesces into an incredible synesthesia of memory, digital ephemera, and physical preservation all encompassed, like Snow White, in a sensual and impenetrable glass coffin. There’s much potential for touchstones of communication in this medium that feels simultaneously earthy and ephemeral, tactile and fragile, inviting and forbidding to touch.

It’s the rare medium that straddles craft, fine art, and daily life on such equal footing. Hush.ex both awakens the viewer to sensual beauty, and stands as a reminder that such beauty is all around, within grasp, at all times.

Hush.ex is on view at River House Arts in Toledo, Ohio, September 15 through October 31, 2016

River House Arts

Drawn Together @ the Scarab Club

Brienza, Bruner, Galbreath, and Carmen-Vian make drawings that engage

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Artists, Sue Carmen-Vian, Joyce Brienzia, Coco Bruner, Lynn Galbreath Image Courtesy of Jeff Cancelosi

Drawing has been around for a while. Think: Lascaux cave in Dordogne, France. And drawing is one of the major forms of expression, concerned with the making of lines, tonal areas, black and white or color, representational or abstract, the work in DRAWN TOGETHER is a strong exhibition, curated by Joyce Brienza. She says, “We are a group of artists and friends who have in common an interest in the idea of drawing as end point rather than merely a preparatory act. We are in love with drawing as a direct, no tech and un-electronic media. We see the pencil in some ways as an instrument of nostalgia, recalling the Renaissance quest for virtuosity. Our work ranges from narrative to abstraction but there is a conceptual bent towards popular culture that questions the separation of fine and applied arts.”

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Joyce Brenzia, Mixed media on Paper, 28″ x 22″

Joyce Brienza’s work, Given Name ll, is a colorful mixture of images that seem to have the feminine as a theme with overlapping figure and design elements. The compositional construction provides the audience with her artful dexterity with the human anatomy. She says, “In dreams and memories fragments are all we have to make up the whole. I work with images the way a DJ samples music to create my own brand of visual hip hop. By employing a collage technique, the works are constructed of layered and juxtaposed elements drawn from multiple sources that possess a particular personal and/or social significance. Among these sources are still life objects, toys, atomic structures, old master works, family photographs etc. This re-contextualization of images is a conduit for the generation of new meanings.” Her patterns are critical elements set within a grid that tell a story which resonates with the viewer. The work is both personal, and societal.

 

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Coco Bruner, Rhymes with Silence, Charcoal and Conte crayon , 30 X 22 – 2015

Coco Bruner’s work, here embellished in Rhymes with Silence, includes a variety of media, in which she manipulates the illusion of space and light. She includes both spontaneous and calculated gestures, while presenting an unconventional composition dominated by this large black circular shape. She says, “Each drawing begins with as spontaneous a gesture as possible. What follows is navigation between control and impulse, the known and unknown. It’s a bit like hitchhiking. You take a risk, not knowing where you’ll arrive, but you’ll probably learn something.” These rather pure abstractions present a sense of mystery that have no definable meaning. An MFA graduate from the School of the Art Institute of Chicago, and recipient of a Kresge Visual Arts Fellowship in 2013, Bruner works in drawing, painting, sculpture and photography.

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Pony Boy, Graphite and gold leaf on Paper, 60″ x 50″

Here in her drawing Pony Boy, Lynn Galbreath juxtaposes a realistic rendering of two toy pistols against a background of line drawing and creates a young boy’s world filled with imagery and costume. She says in her statement, “I am born to create and cannot function on a daily basis without making something. I create to communicate. To me, art is the conversation we’ve been having since the beginning of time, the one that’s always probing the human condition.” In this drawing, it is the scale that works so well. If it were 8 X 11″, it would feel more like an illustration. Given its size 22 X 40″, the power of scale makes the work stronger, which is not always the case. These toy objects are rendered with such contrast and detail, they take on a life of their own.

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Sue Carmen-Vian, Way Out, 34 x 42 Graphite on Paper, 2016

In her work, Way Out, Sue Carmen-Vian, an MFA graduate from Wayne State University, provides a collection of stylized Van Gogh-like drawings that introduces her audience to a figurative type of surrealism that is personal and at times autobiographic. At a distance, these heavy black and white pencil drawings can have a woodcut feeling with her textural markings. In her statement she says, “The challenge of retirement from teaching is to continue to feel useful. As this part of my life fades my art has become more defined and developed. These drawings contain costumes and props from my on going performance art and teaching days.” On her way out in her new canoe, she seems to be navigating between herself on the right, standing up straight and balanced, versus herself hanging upside down in a quandary. I am sure, since she’s in charge of the canoe, everything will turn out just fine.

On September 9, the first Friday of the new fall 2016 season, there were six openings in Detroit (perhaps more). As I visited each, it wasn’t until I ended up at the Scarab Club that I experienced a loud and joyful community of artists, friends and family, who all had relationships with these four artists. If you’re a painter or a sculptor, it is likely that drawing is at the core of your work. We can look back in history and see the preliminary drawings made by Michelangelo, da Vinci and Rembrandt. Certainly, as demonstrated by these four artists, drawing as an art form is alive and well in history and present in Detroit. The Scarab Club, under the leadership or Treena Flannery Ericson, is the perfect home for DRAWN TOGETHER.

August 31-October 15, 2016
, 7-10 pm
 Gallery Talk: Saturday, September 24, 2 pm

Scarab Club

 

 

 

 

 

 

 

Sanford Biggers @ MOCAD

Sanford Biggers Subjective Cosmology opens at MOCAD

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Sandford Biggers, From the Moon Medicin performance, All images Courtesy of Sarah Rose Sharp

The MOCAD kicked off their Fall program this weekend with an opening-night throwdown for Subjective Cosmology by Sanford Biggers on Friday, September 9, followed by an artist talk and walk-through of the exhibition on Saturday, September 10. While most art exhibitions feature an opening celebration, the events unfolding around Subjective Cosmology, including a performance by Biggers’ musical group, Moon Medicin, were integrated with work on display—and a continuation of Biggers’ larger body of work—acting as a kind of charging ceremony, or christening of sorts, for the show.

“I’m not focusing on one particular type of media in this conversation,” said Biggers, during the slide show and lecture portion of his artist talk at MOCAD, “because I consider myself to be a conceptual artist and an inter-media artist.” Indeed, the work within Subjective Cosmology runs the media gamut: kinetic inflatable sculpture in vinyl, multi-layer staged video art and footage collage, live musical performance, found object assemblage, fiber wall mosaic, and even a tiny, delicate origami-style paper horse. There is media-within-media; an object sculpture based on a large-scale industrial spool is displayed in one corner, but also appears in some of the video footage, being rolled around by figures wearing the same feature-obscuring masks donned by the members of Moon Medicin in live performance adjacent to the video collage (and subsequently displayed on a coat rack in the midst of the exhibition). Video clips projected on three walls of the exhibition alternately display process videos of the creation of a recent series of small bronze sculptures, formed by “ballistic sculpting” (aka being augmented by being shot through with bullets).

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Sandord Biggers, From the Moon Medicin performance 2016

Biggers deals almost exclusively in “ethnographic objects,” picked up through his international travels and residencies. Just as he engages with myriad media, Biggers seems to create no boundaries for himself in terms of cultural source material, resulting in a final product that might be considered ethnographic collage. This practice recently drew some fire from critic Taylor Aldridge, with particular focus on a piece titled Laocoön—the original appeared at Art Basel Miami last December, and there is a scaled-up version of the same work currently on display at the MOCAD. The supine figure on display in the piece is instantly recognizable as the titular character of the cartoon show Fat Albert, and his labored posture, made kinetic by a cycle of slight inflation and deflation, signals a dying breath that triggers a host of loaded connotations. Most immediately, one thinks of the show’s creator, Bill Cosby, who has fallen from hallowed status in the wake of rape accusations—but the positioning and the association with breathing cannot help but conflate the figure on display with the victims of lethal and excessive force in a wave of high-profile conflicts with police officers around the country. The leveraging of this loaded imagery has spawned its own kind of art-world fetishization of black bodies—much as the horror of sexual violence against women has become almost banal in its pervasiveness as subject material for wildly popular TV shows like Law & Order: Special Victims Unit, or Criminal Minds.

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Sanford Biggers, Moon Medicin costumes on display; according to Biggers they have now been retired and there will be new costumes at the next performance.

Certainly, Aldridge is entitled to her objections around the context and impulses at work in Laocoön, but it strikes me that the question raised by Biggers’ work is more one of appropriation on a broad level. Perhaps Biggers is trading in trauma associated with recent news events, but he deals equally in trauma associated with the slave trade—as with Lotus, an etched glass piece that mashes up renderings of the cargo hold on an 18th century slave vessel with the traditional Buddhist symbol for purity; as with Blossom, which brings the haunting subtext of the American jazz standard, “Strange Fruit,” to bear on the “Jena Six Incident,” involving an altercation between black and white students in Jena, Louisiana; and in Shuffle, Shake, Shatter, a three-part film/video suite on display at the MOCAD, which explores identity formation while abstractly retracing the North Atlantic Slave Trade route, from Europe to the Americas and finally Africa.

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Sandford Biggers, Video projections (still view) 2016

“I was thinking about appropriation, and what does it mean to use these symbols,” said Biggers in his artist talk, referring specifically to a series of works that involved obscuring and embedding objects in plastic Buddha statues, such as B-Bodhisattava. “I realized…all bets were off. You can put anything you want to in this [clear-cast Buddha].” Cultural appropriation is a sticky subject, particularly when one is in the position to capitalize on the potential suffering or ideas of others, and Biggers work raises questions in terms of who is entitled to claim certain cultural cache—and potentially profit from it—and who is not. The most de facto stance is to draw racial boundaries with respect to certain cultural traditions, but the fact of the matter is, the bulk of Americans are descended from willing or unwilling transplants from other places, and one’s ability to claim any given heritage can be tenuous, depending on who you ask.

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Sanford Biggers, Sleeping Giant (detail view) 2016

On some level, Biggers appears to be skimming the surface of so many different cultures that his work at the MOCAD merges into a kind of living collage—it feels unclear, at times, if the whirl of symbols and signifiers have actual meaning, or if we merely live in a society so densely programmed with media referencing other media that you can create a sense of meaning by the old Mortal Kombat strategy of simply mashing a lot of buttons at once. Moon Medicin kicked off their MOCAD performance with a cover of “Fly Like an Eagle,” wearing cartoonish masks, in front of video clips from Cool World and Who Framed Roger Rabbit—both movies that juxtaposed animated and “real” world imagery. The meta-ness of the moment was perhaps enough to feel as though something was going on, but what, exactly, is left pretty widely open to interpretation.

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Sanford Biggers, Seen, 2016

In fact, Laocoön references a statue, which references a piece of somewhat ambiguous Greek mythology. The eponymous subject of the story committed a transgression—in some versions he drew ire from Athena for attempting to reveal the military gambit of the Trojan Horse, in others he disrespected a temple of Poseidon—and was punished with the death of his sons. That Biggers has chosen to double-down on the presentation of this contentious work (literally tripling the height of the piece in this iteration) underscores a double-bind that is as ambiguous as the variations on the tale: Laocoön was either punished for doing wrong, or for being right. In his grasp-and-mash-up, is Biggers doing wrong? Is he right, and all bets are off, when it comes to cultural appropriation? Does this practice enhance understanding and bridge cultural divide, or does it wedge a dangerous foot in the door for people to perpetuate sensationalist imagery and culture-grabbing for their own gain? When does collage as a form generate richness in meaning, and when does it become mere sensory overload?

When dealing in cultural imagery this heavily loaded, these are the questions every responsible viewer must ask and decide for themselves—and Subjective Cosmology is perhaps more fertile ground than most to meditate upon these thorny considerations. As the title would suggest, what you read in Biggers’ cosmos is entirely up to you.

MOCAD

 

 

Colnaghi @ Wasserman Projects

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Frans Francken, Feast of the Gods, Oil on Panel – A landscape with Theseus and Achelous, with the Triumph of Poseidon and Amphitrite beyond Frans Francken the Younger / Antwerp, 1581 – Antwerp, 1642 Joos de Momper the Younger / Antwerp, 1564 – Antwerp, 1635 Signed lower left :Dᴼ FFRANCK. IN.E.F. Oil on panel, 72 x 157 cm. (28 ½ x 61 ¾ in.)

The Wasserman Projects opened a new exhibition, Old Masters / New World from the Colnaghi Gallery of London, for a limited time, September 7-11, 2016. The work includes major painting and sculpture by such artists as Frans Francken, Gaetano Gandolfi, Jusepe de Ribera, and Pedro Duque y Cornejo.

Gary Wasserman, Founder of Wasserman Projects says, “We share Colnaghi’s vision to connect the historic with the contemporary, and to show art in a diversity of contexts and through a wide range of collaborations. To be able to show these tremendous Old Master works in the contemporary, industrial-style setting of our exhibition space is an exciting proposition that highlights the connection between the past and present and offers a new way of experiencing both the art and the space.”

If you look at the trajectory of Wasserman Projects, set in a former firehouse in Detroit’s historic Eastern Market, the work on exhibition there has been contemporary and at times conceptual. The gallery works with artists from across disciplines and around the world, presenting exhibitions and performances that spark a discourse on art, but also cultural, social, or political issues, which are particularly active and timely in Detroit.

In attendance for this opening was Jorge Coll, CEO of Colnaghi, “We are thrilled to build on our long and storied history in America by holding our first exhibition in Detroit, and to be doing so in partnership within many of the greatest American museums and collections, including ones in this city. It is in this spirit of engaging new and existing communities of arts enthusiasts and collectors that we are holding Old Masters / New World in Detroit. We see our vision to present Old Master works across a wide range of locales as parallel to the missions of museums and universities to educate on the arts.”

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Fray Juan Bautista Maíno “The Holy Family with the Infant Saint John the Baptist” Pastrana, 1581 – Madrid, 1649, Oil on Canvas 110.5cm x 92.5cm

The painting, The Holy Family, reminds this writer of how popular it was in the 14th through 16th centuries to paint the Madonna and Child. Here, the artist Stozzi,  includes Joseph, the husband of Mary, and the young child Jesus, reminding us of the age difference, and provides the audience with a direct and comforting look from the mother. When I first read and studied the work of Giovanni Bellini, it was amazing how many paintings he made of Madonna & Child. People of wealth during these times, would commission a painting for their home, and because Catholicism was the dominate religion, there was nothing more pure and sacred than this image. One gets the impression there was tremendous status in having such a painting in their home. So the answer to the question is that it was very lucrative for artists to make so many of these paintings. The only question raised here is who is the child at the bottom of the painting who draws the attention of both Jesus and Joseph with the halo? The answer is his cousin, John the Baptist.

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Giacomo Ceruti, Kitchen Still Life, 84 X 118 cm, Milan, 1698 – 1767

Still life paintings were popular during this time period. In Kitchen Still Life, the painter Giacomo Deriti produces a classic realistic composition that easily sets the stage for painters to come a century later. These near photo realistic images (before the invention of photography) are composed and lit, which provides the artist with an unlimited amount of time to compose, draw, under-paint, and add reflective details. Elements of illusion are magnified by having the knives come off the front edge of the table, while at the same time create a balance of shape and form with the light source coming from the upper left.

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Juan van der Hamen y Leon, Abraham and the Three Angles, 279 X 181cm, Madrid 1596-1631

The Spanish painter, Juan van der Hamen, was born in Madrid in 1596 and was recognized for his allegories and landscapes during the Baroque period. A prolific artist, van der Hamen painted all his works during the first decade of the reign of Philip IV. As a religious painter Hamen worked for several religious institutions in and around Madrid and Toledo, like the Monastery of the Descalzas Reales, in Madrid, for which he painted altars. The best surviving examples of his religious work are in the cloister of the Royal Convent of La Encarnación in Madrid, painted in 1625 in a naturalistic tenebristic style. The painting Abraham and the Three Angels is known for the stylistic characteristics and the iconographic interest of the scene, by which the artist interpreted the Biblical theme of the apparition of the three angels in the house of Abraham to announce that Sara would conceive a son.

So why is it important for young people today to experience this work, both in galleries and museums? Let me start by saying that many things that are part of human history continue to enrich our lives: Mathematics, Philosophy, Literature, Music and certainly Art. Do we not still listen to Bach and derive meaning that connects us to all music, and can we not still relate to the allegory in Dante’s Divine Comedy? For Wasserman Projects to bring this experience to Detroit creates the opportunity to expose Italian and Spanish Renaissance Painting to an audience that may not have thought of the connection that all art shares.

Wasserman Projects demonstrates that it is guided by a spirit of collaboration, recognizing that art is best realized and most meaningful when it engages the broad range of people such as the dynamic and diverse population of Detroit.

Wasserman Projects, September 2016