Detroit Art Review

Critical art reviews of Detroit galleries and museums weekly

Ruth E. Carter @ The Wright

By

On November 1, 2023

In Costume Design

Ruth E. Carter Costume Design at the Charles H. Wright Museum of African American History, Detroit, Michigan.

“Roots” (2016) Miniseries directed by Bruce Beresford, Thomas Carter, Phillip Noyce, and Mario Van Peebles, installation with costumes by Ruth E. Carter for Nancy (Anna Paquin) and Charlotte (Joy Jacobson). All Photos:  K.A. Letts

When we go to the movies, we are often only dimly conscious that each film is a complex work of collaboration, with thousands of anonymous artists and craftsmen working together to realize the vision of a singular director at the top of the credits. But Ruth E. Carter, the creative mind and eye behind the costumes in over 70 films by a who’s who of talented filmmakers, stands out as a uniquely talented contributor to this most collaborative art form.   The current retrospective of her work, with costumes and props from her 40-year career, “Ruth E. Carter: Afrofuturism in Costume Design,” is now on view at the Charles H. Wright Museum of African American History until March 31, 2024.  It’s well worth a visit and the (rather steep) price of admission to appreciate, in person, these exquisitely realized artifacts of Carter’s long career.

Carter has been the go-to designer for a distinguished collection of directors—Spike Lee, Steven Spielberg, Ava DuVernay and Ryan Coogler, among others—who depend upon her meticulous research and masterful craftsmanship to give visual heft and historical authenticity to the stories they tell.  The exhibition takes us on a tour of the artist’s work from her comic designs for the 1988 send-up of blaxploitation films “I’m Gonna Get You Sucka” to the historical authenticity of the 2016 re-make of “Roots” to her most recent Afrofuturist costume inventions for “Black Panther” (2018) and “Wakanda Forever” (2022.) A two-time Oscar winner, Carter doesn’t merely dress her actors—she illuminates the characters and the story through her attention to detail and careful research, a process she describes as “reading about a time period, speaking to historians, studying the way the mind thought and body moved, and learning about innovative or ancient design techniques that can enhance the costume.”

“Malcolm X,” (1992) Directed by Spike Lee, installation with zoot suits for Malcolm X (Denzel Washington) and Shorty ((Spike Lee) designed by Ruth E. Carter.

The costumes in this exhibition often tell stories based on important events in Black American history such as “Malcolm X,” “Selma,” and  “Amistad.”  But her work on more fictional plots like “Coming 2 America,” “Dolemite is my Name” and even the Black Panther movies, deliver an equal sense of authenticity thanks to her extensive research into American fashion history and ethnographic studies from African sources.

Particularly impressive are some of the modern costumes designed by Carter for “Malcolm X.” The 2 zoot suits on display, with their exaggerated silhouettes and outrageous color palettes,  though extreme even on their own terms, are remarkably well-realized and convincing. The trajectory of Malcolm X’s life can be traced through Carter’s costumes, from his early origins as a young hipster through his subsequent ideological embrace of the National of Islam and culminating in his post-hajj conversion to Sunni Islam and civil rights activism.

“Selma” (2014) Directed by Ava DuVernay, installation with Sunday dresses designed by Ruth E. Carter for the young girls: Addie Mae Collins (Mikeria Howard,) Denise McNair (Trinity Simone,) Carol Rosamond Robertson ( Ebony Billups,) Cynthia Dionne Wesley (Nadej K. Bailey,) and Sarah Collins Rudolph (Jordan Rice.)

Another particularly poignant collection of delicate Sunday School dresses for the little girls in “Selma” shows Carter at her most subtly expressive. Each dress is finely detailed, from the voile and taffeta fabrics to the eyelet under-petticoats to the ribbon sashes. The  violent fate of the five is subtly foreshadowed and rendered more horrific by the butterfly-like fragility and beauty of these pastel confections.

“Black Panther: Wakanda Forever” (2020) Directed by Ryan Coogler. Queen Ramonda (Angela Bassett) Carter’s design for the queen’s crown was based on the traditional South African woman’s marriage hat. Fabric designs were developed in cooperation with Austrian designer Julie Koerner.

Carter’s most recent costumes for “Black Panther” (2018) and “Black Panther: Wakanda Forever” (2022) are the headliners in this exhibition, and deservedly so. Her already prominent reputation as a costume designer has been raised exponentially by the two high profile and highly profitable films.   (“Black Panther” grossed over $1.3 billion worldwide and broke numerous box office records, becoming the highest-grossing film directed by a Black filmmaker and the second highest grossing film of 2018.)

The Marvel Studio-derived adventures of king T’Challa and his royal clan, set in the mythical African nation of Wakanda, nevertheless take on a convincing reality based on Carter’s imaginative world-building. The films are a recent iteration of the cultural esthetic known as Afrofuturism, a term first coined by cultural critic Mark Dery in 1993. What began as a more-or-less literary trend centered on science fiction has since made inroads into other genres such as fantasy and magic realism.  Historians point to Ralph Ellison’s 1952 science fiction novel “Invisible Man” as a precursor, and Octavia Butler’s novels are often associated with the genre.  Carter defines the movement for herself  as “using technology and intertwining it with imagination, self-expression, and an entrepreneurial spirit, promoting a philosophy for Black Americans, Africans, and Indigenous people to believe and create without the limiting construct of slavery and colonialism.” She has ably combined her characteristic attention to historical and ethnic costume history with an inventive admixture of computer-generated and 3d-printed detail that makes the complex story believable on a visceral level.

“Black Panther” (2018) Directed by Ryan Coogler. Ayo Dora Milaje (Florence Kasumba) Carter’s costume designs for the Wakandan warrior clan, the Dora Milaje, were based on traditional dress of the Ndebele women of South Africa.

“Black Panther: Wakanda Forever” (2020) Directed by Ryan Coogler. Namor, King of Talokan (Tenoch Huerta.) Carter’s designs for the inhabitants of the underwater kingdom were based upon Mexican and Mayan influences.

Carter has earned wide attention for her Black Panther costumes referencing Afrofuturism, but she is far from the only creative to contribute to the ongoing cultural conversation in the visual arts, music, and literature.   In 2021, the Metropolitan Museum of Art in New York City opened “Before Yesterday We Could Fly: An Afrofuturist Period Room.” The exhibition, organized in a “period room” installation format, envisioned the past, present, and future home of someone who lived in Seneca Village, a largely African-American settlement destroyed in the mid-1800’s to make room for Central Park. In 2022, the Hayward Gallery in London curated an exhibition of 11 contemporary artists from the African diaspora who draw on science fiction and myth to speculate on the world’s future.

Visual artists working in the fine arts on a smaller scale, like Nick Cave, Rashad Newsome, Kara Walker, Wangechi Mutu, Yinka Shonibare and Ellen Gallagher, can be counted among those influenced by the Afrofuturist esthetic. But Carter, as a high-profile creative in a mass-market art form that reaches millions, may be one of the most prominent visualizers of the genre working now.  “Ruth E. Carter: Afrofuturism in Costume Design” provides an excellent opportunity for anyone who wants to feel the texture and sense the power of Afrofuturism to head down to the Wright Museum for a visit this fall and winter.

“Do the Right Thing” (1989) Directed by Spike Lee. Mookie (Spike Lee) Carter’s designs for the film are neon-bright and based on the red, yellow and green of the pan-African flag. Photo: K.A. Letts

Ruth E. Carter: Aftrofuturism in Costume Design   October 10 – March 31, 2024     https://www.thewright.org/exhibitions#current  

Elevation: Kaneko & Contemporary Ceramics @ Elaine Jacobs Gallery

By

On October 25, 2023

In Ceramic

Wayne State University Art Exhibition – Elevation: Kaneko & Contemporary Ceramics at Elaine Jacobs Gallery

Installation: Elevation: Kaneko & Contemporary Ceramics, 2023, All images: Ashley Cook

The history of sculptural ceramics dates back to as early as the Paleolithic period with its small ritualistic animal and human figures modeled out of clay. Serving to represent and understand their environment, the people of that era exercised the practice of assigning meaning to an object that would otherwise be considered non-functional. With ceramic having such an instrumental role in the evolution of craft and technology throughout time, the conversation around it as a fine art medium is not necessarily new, but less usual. Elevation at Elaine Jacobs Gallery seeks to draw attention to fine artists working in ceramic, with a particular focus on Japanese artist Jun Kaneko, whose practice has been influential since the 1980s.

Untitled, 1984, Jun Kaneko, ceramic.

The exhibition statement provides accessibility to the curatorial objective of the thirty-three works on display. Following a brief background into the life of Kaneko, readers learn of the mentorships that shaped his early work and fostered his development into an artist with a unique conceptual approach to the use of ceramic. Curators Jessica Edgar, the Assistant Professor and Area Coordinator of Ceramics at Wayne State University, worked in collaboration with Kat Goffnett, the Assistant Curator of Collections at Cranbrook Art Museum, to assemble 11 artists, including Jun Kaneko, whose work carries on this lineage of exploration into contemporary times. In addition to the consistency of their applied medium, each of the selected artists have been observed to use metaphor to connect with their cultural heritage and examine the effects of diaspora on their relationship to material tradition. A purposefully wide array of backgrounds are successfully represented here to underline the expansive presence of clay as a strictly sculptural medium.

Vejigante: Viiejo, 2023, Joey Quiñones, ceramic, terracotta, wood, terra sigillata, gilding.

A majority of the artists selected to participate in this exhibition are part of their own cultural diaspora, traveling from places like Mexico City or Southern India to live and work as artists in the US. The organic and imperfect hand-built forms reference sculptures of ancient civilizations while the more precise patterning reminds us of modern ceramic techniques. Visitors have the opportunity to enjoy eclecticism of glaze use, subject and presentation as they navigate from rock-shaped floor and wall works by Jun Kaneko to Joey Quiñones’ Afro-Latinex inspired mask pieces. Patrice Renee Washington’s stoneware is accompanied by Renta Cassiano Alvarez’ mantel of ceramic, obsidian, gold, tile and wood, a digital print by Khalil Robert Irving, a ceramic-human hair hybrid sculpture by Adebunmi Gbadebo and a mixed media sculpture by Magdolene Dykstra. Up the stairs, the visitors approach a projected film by Ashwini Bhat presented in tandem with three of Bhat’s sculptures alongside three of Michiko Murakami’s experimental collage-like ceramic amalgamations, a wall work by Shaarbani Das Gupta and two iterations of a vase-like ceramic form by Ebitenyefa Baralaye. Jun Kaneko’s work is scattered evenly throughout both the first and second floor of the gallery, almost as a mirroring technique that allows for analysis of his influence in those who he has inspired.

Alive 1, Alive 2, Alive 3, 2023, Ashwini Bhat, glazed ceramic sculpture.

Elevation: Kaneko & Contemporary Ceramics at Elaine Jacobs Gallery opened on September 15, 2023 and is on view until December 9, 2023.

Spumoni, 2023, ceramic and Cloud Grid, 2023, graphite, sumi ink, Michiko Murakami.

Elaine Jacobs Gallery is located at 480 W Hancock St, Detroit, MI 48201.  Gallery Hours are Tuesday and Thursday from 12 p.m. to 5 p.m. and Friday from 12 p.m.-7 p.m

www.waynestategalleries.org/elaine-l-jacob-gallery

Iris Eichenberg @ David Klein Gallery

By

On October 14, 2023

In Ceramic, Installation, Sculpture, Textile

Iris Eichenberg: Topoanalysis / Wer Bin Ich? will be at the David Klein Gallery in Detroit though Nov. 4, 2023.

An installation shot of Iris Eichenberg: Topoanalysis / Wer Bin Ich? will be at the David Klein Gallery in Detroit through Nov. 4, 2023.  (All images courtesy of David Klein Gallery.)

With Topoanalysis / Wer Bin Ich?, Iris Eichenberg — the German-born, Dutch-educated head of metalsmithing at Cranbrook Academy of Art — continues her probing search for roots and meaning, particularly as found in material objects and places in memory. The solo exhibition will be up at Detroit’s David Klein Gallery until Nov. 4, 2023.

“Topoanalysis” is a term coined by the French philosopher Gaston Bachelard and refers to the psychological study of key sites in our intimate lives. And as the question in the title — “Who am I?” — underlines, this exhibition explores identity and personal history through allegorical representations of people and houses that still echo in Eichenberg’s life.

 

Iris Eichenberg, Academy Way, Wood, bark; 16 ½ by 24 ½ by 10 ½ inches, 2023.

The show comes in three parts, employing very different materials: wood, fabric, and pottery. But this won’t come as a surprise to anyone who’s followed the artist’s career since she first landed in America, at Cranbrook in 2006. Creative tools in Eichenberg’s hands have included materials as disparate as her grandmother’s silk stockings and silver spoons, colorful birds crammed in painful cages, knitted mittens, glistening ceramic vessels, or, in the case of her 2020 show The Center Piece / The Blank, white and dark-gray discs hung from elegant, wide strips of black fabric. From a distance, the wallscape read almost like modernist architecture.

What Eichenberg said in this writer’s first conversation with her 14 years ago is clearly still as apt as it was then, and amounts to a sort of design philosophy: “I always try to encounter and fight with new material.” Indeed she does.

In Topoanalysis, Eichenberg’s constructed simplified “houses” up to a couple feet tall that look a bit like giant versions of children’s blocks. Each structure, rendered in warm, contrasting wood tones, is a stand-in for someplace the artist lived, where memories and emotions are deeply lodged. Some of these houses are attached to poles with a cross-piece or handle at the far end, suggesting, perhaps, that even a house constitutes a tool.

 

Iris Eichenberg, J.P. Lennepkade 287/289 (Table), Wood, French linen, 30 by 76 ½ by 44 ½ inches, 2023.

It’s worth noting that for all their simplicity, the workmanship on these wooden sculptures is gorgeous, as are their compositional arrangements. An absolute knock-out, even if a total mystery, is J.P. Lennepkade 287/289 (Table), where a house resembling a Monopoly token you’d put on Park Place hangs several inches above the floor, suspended by a wooden dowel and cross-piece hanging from a tidy slot in the middle of a handsomely constructed table.

Interestingly, Eichenberg – an artist of multitudinous talents – milled all the wood that went into Topoanalysis from an old walnut tree that had to be taken down in a friend’s garden.

The artist’s current residence at Cranbrook, designed by Eliel Saarinen, is represented by a squat, gabled affair titled Academy Way that rests on a large, curvaceous piece of bark. (Other houses often sit on a cushion of beige French linen.) As it happens, the bark is not flush with the floor, but has a low “arch” in the center, right where you expect a solid foundation line. Stand back a ways, and you can see light peeking through from the far side.

 

Iris Eichenberg, Wer Bin Eich, French linen, brass weights, charcoal, 100 by 98 by 52 inches, 2023.

Compared to the wood houses, something entirely different is going on with Wer Bin Eich, an eight-foot-tall house built of draped French linen hung from hooks, a little like a quickly erected tent. Of all the works in the show, this is perhaps the most enigmatic, not least because of the rough charcoal sketch facing it on the wall a couple of feet away that echoes its outline in quick, slapdash strokes. If the wooden houses suggest permanence and solidity, Wer Bin Eich trumpets instability and the fragile nature of human constructions.

Peering down at these artifacts are three muted, abstract portraits of friends of Eichenberg’s – Ilse, Ida, and Frida. Their faces are rendered in dribs and drabs of meticulously stitched fabrics, ranging from cheesecloth to horse hair to damask.

 

Iris Eichenberg, Ida, French linen, gold linen, cheesecloth, mopcloth, rabbit fur, produce bag, Chinese silk, 72 by 48 inches, 2023.

Finally, the show is capped by a series of nine dark-gray earthenware vessels, some resting on wooden shelves that almost act as frames, and one cozying up to one of her wood houses.

These are not the fine, glossy ceramics Eichenberg’s made in the past. In their slumping and swelling, these primitive, near-black earthenware vessels feel almost organic – like zaftig body parts — with mouths that yearn to talk or pour. It’s hard not to see them as animate little… somethings.

All in all, Topoanalysis is an intriguing, sometimes dizzying mix. As Wayne State art historian Dora Apel wrote in “Essay’d” in 2019, in a comment that applies equally well to this domestic installation, Eichenberg’s work “evokes alienation and dislocation, combined with a sense of yearning for comfort, warmth, and attachment.”

Iris Eichenberg, Black Earthenware Pot, Wood, black earthenware, various dimensions, 2023.

The solo show Iris Eichenberg: Topoanalysis / Wer Bin Ich? will be up at Detroit’s David Klein Gallery through Nov. 4, 2023.

Anita Bates @ N’Namdi Center for Contemporary Arts

By

On October 3, 2023

In Paintings, Sculpture

Dr. Anita Bates’s exhibition, A Long Time Coming, now on view at N’Namdi Center for Contemporary Arts revives a fresh experience to Abstract Expressionism.

Installation, Anita Bates, N’Namdi Center for Contemporary Art 2023. All images courtesy of DAR.

Detroit artist Anita Bates opened her exhibition, A Long Time Coming, at N’Namdi Center for Contemporary Art on September 9, 2023, with recent abstraction expressionistic paintings rich in color, scale, line, texture, and composition. The paintings are like forest flowers, reminding this writer of music performed so exquisitely in the 1960s by the jazz musician Charles Lloyd. Gestural strokes, mark-making, and the impression of spontaneity characterize the work.  Her creative process over the past thirty years follows in the footsteps of Willem de Kooning (and others), but she focuses on the color field, devoid of any reference to the landscape or figure.

Abstract Expressionism emerged in the early 1940s, primarily in New York, where a small group of loosely affiliated artists created a diverse body of work that introduced new directions in painting—and shifted the art world’s focus forever. In distinction to the emotional energy and gestural surface marks of abstract expressionists such as Pollock and de Kooning, the Color Field painters initially appeared to be cool and austere, effacing the individual mark in favor of large, flat areas of color, which these artists considered to be the essential nature of visual abstraction, along with the actual shape of the canvas. However, Color Field painting has proven to be sensual and deeply expressive, albeit different from gestural abstract expressionism.

Bates says in her statement, “The colors found in the majority of the work in this exhibition are lighter than previous bodies of work; they are colors associated with my childhood but seen through the eyes of maturity.  I primarily work in the triadic combinations of green, orange, and purple or a palette of red together and always gravitate towards these hues while consistently pushing my knowledge of these harmonies via desaturation and contrast. For me, this element of art and design demonstrates my growth as an artist; The ability to make color transition with tints, tones and shades.”

Anita Bates, The Power of Subtlety, Mixed Media on Canvas, 2023

The two diptych canvases,  30 X 46” each, and entitled The Power of Subtlety, are connected with a black horizontal line in the top quarter, providing the geometric compositional structure for the overall painting. The background throughout is a sloshing around of pastel colors from her triad of green, orange, and purple, where transparent blends of white and tan merge. Possibly influenced by artist Lee Krasner, Bates plants herself in color field composition with oddly shaped abstract elements. The dominant feeling is esoteric, with a personalized set of small, mysterious objects that keep the viewer at bay.  The artist seems to be saying that the painting does not need to convey a meaning other than the way it makes the viewer feel.

For Abstract Expressionists, the authenticity or value of a work lies in its directness and immediacy of expression. A painting is meant to be a reveal of the artist’s identity. The gesture, the artist’s “signature,” is evidence of the actual process of the work’s creation.

Anita Bates.The Zoo, 60X96″, Mixed Media on Canvas, 2023

The Zoo,  another 30 X46” diptych, is more lively, with a much larger color palette that includes details of black drawing and a more integrated overlapping of shapes.  Is it a Zoo?  If so, it is one not so much of animals but of contrasting shapes from the artist’s subconscious reflecting her sensibility. There is a lot more compositional traffic in The Zoo that speaks to the language of her attraction to the overlapping and action-packed gesture of Abstract Expressionism.

Anita Bates, Poivres Rouge, 60×72″, Mixed Media on canvas,

Poivres Rouge is a mixed-media painting on canvas that divides the space into quarters and places its weight in the center of this organic composition. The title refers to a French restaurant or, in the dictionary, defined as Pepper, perhaps based on the artist’s travels in France.

Early art critics, like Harold Rosenberg, had long been outspoken in their view of a painting as an arena which to come to terms with the act of creation. To Clement Greenberg, the physicality of the paintings’ clotted, dripping, and oil-caked surfaces was the key to understanding these works as documents of the artists’ existential struggle. Bates seems to occupy a middle ground since her paintings are non-referential yet emotive.

Anita Bates, Candy, 60×96″, Mixed Media, 2023

Staying with a familiar palette of color in Candy, Bates presents layers of oil paint working from dark to light with a multitude of overlapping shapes, lines, and drips as she balances the congestion of abstraction. Brush strokes move horizontally and vertically, and a balanced of black drawing helps hold the picture together.  There is a distinct push and pull of paint, solvents, and water, mixing to create diverse textures.

Like the Charles Lloyd album from 1966, Forest Flower, the uplifting abstractions in A Long Time Coming draw the viewer back… and then back again for more observation and discovery.

Dr. Anita Bates earned her Ph.D. in Education and an M.F.A. in painting from Wayne State University. She was a 2019 Kresge Arts Fellow, resides as a native of Highland Park, Michigan, and has widely exhibited throughout Metro Detroit and beyond. https://www.anitabatestheartist.com/

 

Lucy Slivinski @ N’Namdi Center for Contemporary Art

The Improvisation of Matter Into Magic

Installation Lucy Slivinski sculpture N’Namdi Center for Contemporary Art

Critically acclaimed artist Lucy Slivinski hails from Chicago, Illinois, bringing her wide collection of sculptures and installations. For over 40 years, as one of the few female artists working in metal, Slivinski has created abstract sculptures for interior and exterior residential and commercial spaces.  Most of her contemporary sculpture features found objects, scrap metal, and other locally sourced, recycled products that would otherwise end up in a landfill or smelting factory, continuing to harm the environment.  As an abstract artist, Slivinski’s unique style has been commissioned for many large outdoor public sculptures, live performances, and gallery installations.

Lucy Slivinski earned an M.F.A. from Cranbrook Academy of Art and a B.F.A. from Northern Illinois University.

 

Herbert Gentry @ N’Namdi Center for Contemporary Art

Installation Herbert Gentry N’Namdi Center for the Arts 2023

Herbert Gentry’s paintings juxtapose faces and masks, shifting orientations of figures and heads—human and animal—into profiles to the left, to the right, above, and below. The direction of the head, as face or profile, leading right or left, or facing front, is played against the relative scale of each head, its position on the canvas, and its relationship to the others.  The faces evoke subtle expressions and moods. Rather than using images to depict a concrete story, Gentry releases his experiences upon the canvas. Born in Pittsburgh, PA, Mr. Gentry was raised in Harlem during the highly creative Harlem Renaissance period. He served as a member of the Armed Forces in World War II, and his early commitment to art was confirmed upon his return to Paris in 1946, where he studied painting.

Three Gallery Exhibitions, September 9 – through November 30, 2023

New Work @ Matéria Core City (formerly Simone DeSousa Gallery)

By

On September 23, 2023

In Fiber, Installation, Textile

Form&Seek: Poetic and Tending Time: Megan Heeres @

Matéria Core City Gallery

Opening night reception for new work by Form&Seek and Megan Heeres at the new Matéria building (previously Simone DeSousa Gallery) September 9, 2023. Images courtesy of Materia Core City.)

Well, the day has finally arrived. After a few of the usual construction delays, Matéria, gallerist Simone DeSousa’s new cultural campus, has opened in Detroit’s Core City neighborhood. Matéria’s first suite of exhibitions, performances, and events extends from September 9 to October 7 and contains multitudes.

The newly opened building houses the tenth-anniversary exhibition of fine craft objects by Bilge Nur Saltik, founder and creative director of the design collective Form&Seek, plus an installation by fiber artist Megan Heeres and Puma, a casual ceviche bar created by Chef Javier Bardauil of Barda.   An eclectic and eccentric schedule of activities and activations in the galleries and in the nearby park include performances by dancer/choreographer Biba Bell with Christopher Woolfolk and Shannon White and music by Matthew Daher. An invitation-only dining experience from Detroit’s farm-to-table collaborative Coriander will round out October’s scheduled activities.

The name Matéria points to a new direction for gallery director Simone DeSousa. While she will retain her former intimate jewel box gallery on Willis Avenue for shows featuring established Cass Corridor artists, DeSousa sees the new Matéria space as a laboratory for experimentation and for the presentation and promotion of new voices and visions in Detroit. “Our new name signals the beginning of a new era of collaborations for our project, as we expand our presence in the city with a second space,” she stated in a recent press release.

Performance park outside the Matéria building, designed by Julie Bargmann of D.I.R.T. Studio, assisted by Andrew Schwartz. Materials gathered from the surrounding environment.  Image courtesy of K.A. Letts.

Matéria Core City and its adjacent park and performance space are only the newest additions to the Core City neighborhood project as envisioned by entrepreneur and developer Philip Kafka of Prince Concepts. The elegantly appointed three-chambered building, one of Detroit’s many formerly unprepossessing low-rise commercial buildings, now transformed into an art, dining and cultural destination, is one of a complex scattered along Grand River Avenue. They include (among others) the Caterpillar and True North, two residential developments, The Magnet, which houses the Argentinian restaurant Barda, and 5k, a former grocery store imaginatively re-configured to serve as headquarters for the marketing firm OLU & Company.  In a recent brief interview at the site, Kafka described his philosophy of development in Core City as a leveraging of local human talent and on-site resources, both natural and architectural, in service to a new vision of contemporary Detroit. Kafka thinks of his collaborations with creatives and the urban environment as a kind of metaphorical jazz improvisation to achieve a result that no single player could arrive at alone.

Installation Form & Seek: Poetic. Clockwise from left: Entwine Rug, 2023, tufted wool, 74” x 56” x 2”; Entwine Rug 2023, tufted wool, 64” x 66” x 1”; 3D Printed Stool (Blue) 2023, 3D printed PLA plastic, 18” x 28” x 16”; 3D Print Table, 2023, 3D printed PLA plastic, glass, 20.5” x 32”; Frosting Lamp, 2023, 3Dprinted PLA plastic, 16” x 9”

Form&Seek: Poetic

Within the first of the three adjoining spaces of the new Matéria building, the design collaborative Form&Seek celebrates its tenth year of existence with an exhibition of all-new work by Bilge Nur Saltik.  Entitled “Form&Seek: Poetic,” the objects displayed explore the ever-more-symbiotic relationship between craft and technology in a pristine gallery environment. The exhibition coincides with the thirteenth anniversary of Detroit’s Month of Design.

In the ten years since its formation in 2013, Form & Seek has employed the talents of over 90 designers from 20 different countries to produce a diverse collection of one-of-a-kind objects that can be described as both objects for everyday use and fine art.  The Form&Seek esthetic philosophy “places a strong emphasis on craftsmanship, materials and the creative journey… [and is] dedicated to crafting one-of-a-kind, functional and whimsical objects.”

Sensuous yet cerebral, the artifacts created by Saltik for “Poetic” often employ 3d printed technology. A variety of scales are represented, from large tables, stools and lamps to smaller vases and planters.  A particular beauty is the elegant 3D Print Wall Sculpture, three white shapes that seem to reference classical Greek columns. Also featured are four wall-mounted tapestries that combine the cozy familiarity of tufted wool with voluptuous, thickly curving shapes in a variety of colors ranging from dusty pastels to saturated ultramarine blue. They seem animated as if the constituent ropey lines were alive and writhing on the wall.

Installation, Megan Heeres, foreground: Somewhere…Else, 2023, paper thread (shifu) from knotweed and grass plants on site, latex paint, repurposed wire and webbing from site, found mirror. Background: Forever Forest, 2023, repurposed duct work and lumber, live plants from site, casters, pigmented paper pulp with growing grains and time. On the back gallery wall, Angle of Repose (Mound Mapping,) 2023, soil from site, fabric, glue.

Megan Heeres: Tending Time

Of all the artists that DeSousa could have chosen for the inaugural exhibition at Matéria, fiber artist and urban forager Megan Heeres most clearly exemplifies, in fine art form, many of the concepts that animate the Core City esthetic. Heeres is no stranger to the upcycling of building materials, keen observation and thoughtful use of indigenous plant material and engagement of community members in the realization of her projects. For her installation “Tending Time,” Heeres has gathered found materials from the site—repurposed pipes, salvaged lumber, brick, terrazzo and asphalt, even dirt. She uses the found components from the immediate neighborhood to create an immersive environment of stylized columnar trees and impromptu low walls that lean casually against the building, both inside and out.

In Forever Forest, Heeres has placed white columns of salvaged duct work, close-packed together, in a forest of post-industrial pillars that terminate at their tops in explosions of greenery. In the front of the space, Somewhere Else, a u-shaped swag of paper thread made from knotweed and grass mixed with latex paint and re-purposed wire, loops from ceiling to floor and is echoed on the back wall of the gallery by an inverted arch, Angle of Repose (Mound Mapping) made of local soil.

Installation, Megan Heeres, Stacks on Stacks on Stacks, 2023, repurposed concrete, brick, terrazzo, asphalt from site, with grains (wheat, rye, buckwheat, millet) growing in pigmented paper pulp, time.

In the spirit of Core City collaboration, Heeres has also created wearable artworks made from her signature, locally fabricated fiber, to clothe dancer Biba Bell and two colleagues for a performance of concrète: a new dance that was performed on Saturday, September 16.

This middle (and as yet unnamed) exhibition venue is intended as a gathering/dining venue as well as a gallery. Its inaugural offering will be an invitation-only dinner on October 4 featuring a menu from Coriander Farm, which bills itself as “the only restaurant in Detroit that is the farm AND the table.”

The third space within the new Matéria building–and still under construction–is Chef Javier Bardauil’s Puma, a casual bar where thirsty art lovers can retire for a variety of beers, cocktails and light fare.

Immediately outside the Matéria building, a newly opened park makes the most of the neighborhood’s abundant open space. Designed by D.I.R.T. Studio’s Julie Bargmann and assisted by Prince Concepts’ Andrew Schwartz, the park seems to arise naturally from the surrounding environment, a “found” space that makes the most of materials at hand. Bargmann explains, “It’s about staying within the spirit of Detroit, which is a whole lot of spontaneous vegetation…It’s the new palette. It’s the new woodland. These projects are part of that.” Permanent and temporary artworks are envisioned for the future, and the park will host performances planned on a schedule developed by Matéria.

The cultural campus that is organically coalescing in the Core City neighborhood is exemplative of an increasingly visible attitude among artists and other creatives. They favor hybrid spaces that lend themselves to performance, dining and social interaction in addition to their function as venues for fine art. Rather than a pristine white box gallery devoid of context—a cultural monoculture, if you will–artworks can now be displayed in more natural, approachable environments that allow for a variety of esthetic experiences.

The design philosophy underpinning Matéria—and behind Core City more generally–makes a potent argument for thoughtful, non-hierarchical and multivalent development of public spaces. This reassessment of conventional ideas about placemaking recognizes the intrinsic value of Detroit’s natural landscape and proposes to build upon it toward a richer, more welcoming and accessible habitat for the city’s art community.

Matéria, Opening reception at new Materia Gallery, September 14, 2023

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