Detroit Art Review – Page 69 – Critical art reviews of Detroit galleries and museums weekly

Untitled Experiment of the Modern Gaze – Oren Goldenberg and Biba Bell at Popp’s Packing

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All Images courtesy of Oren Goldenberg and Scott Tallenger

At the outset of Untitled Experiment of the Modern Gaze, a film collaboration by Oren Goldenberg and Biba Bell, a camera-in-the-round, moving across several large screens mounted in a ring, surveys a patch of woodsy, Rococo landscape (brought just barely into contemporary times by glimpses of electric wires and smokestacks on the horizon- otherwise, the golden twilight and delicate, sparsely leafed trees could have been painted by Watteau.)

Whoso List to Hunt

-Sir James Wyatt

Whoso list to hunt, I know where is an hind.

The roving eye of the viewer (I can’t help but signify the viewer as “he”) moves first at a leisurely pace, taking in the magically lit landscape. A dark void follows his gaze around, blotting out, for us, what the viewer is not looking at. A figure materializes from the trees- the powerful form of acclaimed dancer and choreographer Biba Bell.

But as for me, helas, I may no more.

The vain travail hath wearied me so sore,

I am of them that farthest cometh behind.

She moves in this strange, wild clearing with natural grace, as if she belongs there. She approaches the viewer like a wary fawn. The viewer’s gaze swings toward, then away from her in a rhythm that visualizes the meter of a sonnet, with its round, half-stepping rhymes.

But may I by no means my wearied mind

Draw from the deer, but as she fleeith afore

Fainting I follow. I leave off therefore,

Sithens in a net I seek to hold the wind.

Untitled Experiment of the Modern Gaze can read, at first, as fairly unexperimental, aside from its installation, coiling around the gallery on screens installed in a huge ring. The scene it captures could be presenting the figure, a woman, as an allegory of nature, as a delicate, wild creature, not quite autonomous, a Pre Raphaelite sylph. The gaze, at first viewing, feels male in its invisibility and its meandering power, turning first toward, then away from, the woman as she floats upon, and interacts with, the landscape. What disrupts this is the woman approaching the camera and returning its gaze in an act that suddenly establishes her as autonomous from her surroundings. The camera, seemingly put off by this direct appraisal, begins to turn more quickly, it’s black void following it, engulfing more and more of the scene. The sonnet winds in toward its break.

Who list her hunt, I put him out of doubt,

As well as I may spend his time in vain.

And graven with diamonds in letters plain

There is written, her fair neck roundabout:

Noli me tangere, for Caesar’s I am,

And wild for to hold, though I seem tame.

The allegories of nature and the hunt are inverted as the woman begins to pursue the camera’s gaze, chasing it as it turns faster and faster in apparent confusion. She halts it (the final couplet) and, applying physical strength to the dark voids that surround the gazer’s view, pushes them out of sight, unfurling the full majesty of the landscape, now seen in full circle. In a modern update of Wyatt’s poem, the woman is, indeed, wild for to hold, but she belongs to no one but herself. Once she has halted the camera, she turns and saunters back into the woods.

Untitled Experiment of the Modern Gaze is on view at Popp’s Packing until December 17. An artist talk with Oren Goldenberg and Biba Bell will be held at the gallery Wednesday, December 14, at 7 pm.

Rick Vian @ Janice Charach Gallery

By Ron Scott

On November 26, 2016

In Ceramic, Paintings, Photography, Prints, Sculpture

Rick Vian, Installation image Courtesy of Glen Mannisto

“Keeping a Wet Edge: A Retrospective of the Abstract Work by Rick Vian” & “Detroit Abstraction: Featuring 41 of the Most Noted Abstract Artist with ties to Detroit”.

The experience of being alone in the bush, as we call it in the far north of Michigan’s Upper Peninsula, deep in the thicket of the woods, is a tricky business. From immobilizing awe over its beauty to a vertigo over its map-less chaos, a walk in the bush can wreak psychic havoc. The current retrospective of Rick Vian’s painting at the Janice Charach Gallery offers a marvelous mirror of Vian’s engagement with the painting of trees in the bush over the past fifteen years. But first before finding himself in the bush of the Upper Peninsula, Vian was a worker, an industrial painter (it’s probably where his no-nonsense work ethic comes from) literally painting factories—the infrastructure of gas, water and electrical lines, the dangerous machinery of industrial production, — and living the inherent design and experiencing the drama of industry.

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Rick Vian, “If You Only New” Oil on Canvas, 40 X 68, 2004

There are a few paintings in the current exhibition that took inspiration from that time and they explore with dramatic shading and coloring, with scumbled surfaces and jagged lines, the interconnected and interlocked spaces of a unique and almost cartooned or animated geometric abstraction. They don’t much look like any geometric abstraction from art history though they might suggest kinship with the Russian Constructivists. “If You Only New,” 2004, a charcoal drawing, dramatized with smears and layered palimpsests and composed with the triangular stencils of drafting tools, looks gothic in its theatrical play of prime geometric shapes. “Nice Condition,” 1999, carves figurative contours out of classic blade shapes such as intersecting ellipses and truncated spheres, dramatizing the edginess of the industrial landscape.

Rick Vian, “Nice Condition”, Oil on Canvas, 48 x 40″, 1999 All images Courtesy of Glen Mannisto, and the Artists.

These earlier geometric abstractions set us up for the big hit of the retrospective and his latest project which is the push/pull relationship between Vian’s figurative and abstract painting of nature. He seems to have turned away from his industrial abstraction and industrial life (he quit the commercial/industrial painting gig) to paint nature. Exploring the wilderness of Northern Michigan’s upper peninsula, where he built a rustic camp in the woods, Vian has engaged the forest and its parts, the tree. Translating his early explorations of the grid, that classic modernist notion, and the physics of sight, Vian has alternated between strictly realist renderings of the forest and a fervently energetic expression. His paintings have become a moment of conscious realization of both the forest and the painting as a signing of that relationship.

Rick Vian, “Stormbreak”, Oil on Canvas, 59”x 84”, 2005

“Stormbreak,” 2005, a dramatic and acutely stark representation of the existential state of a skeleton of a tree is a haunting and certainly metaphoric description of the vulnerability of that tree. In a conversation, he said “I have painted it many times. Its right off Lake Superior’s Keweenaw Bay just past Baraga.” Lest we say Vian has painted it so often that he has almost become its biographer and in that there is the best characterization of a regional artist as a partner and caretaker of the local. One senses a devout relationship with that tree and in the radical shift back, again, to his abstracting of the bush, there seems to lead to a reading of the forest as an emancipating energy and scripted choreography of the forest.

This dramatic relationship infects and determines most of the remainder the current work typified by “The Gathering Pool,” 2010, which “gathers” the surrounding forest or audience of dark shapes, of abstracted squiggles, smears and vertical black shadow-like slashes (figures?) into a focus of brilliant light or frothy foam. In contrast to the surrounding darkness, this brilliant moment is a crescendo of light, perhaps a symbol of spiritual transcendence gleaned from the dark bush. Vian pays homage frequently to his interest in both Italian Renaissance painting, which employed color and brilliant light to dramatize Christian scripture, and to Buddhist, Hindu and Islamic disciplines which use the mandala to diagram the cosmos or in Jungian psychology the unity of the self or personal identity. At the same time, he has kept an eye out for a deep, perhaps objective structure, a former preoccupation of his painting, and found a three-dimensional grid suggested in the “The Gathering Pool” by a faint network intersecting lines.

As a disciplined and investigative sojourner, Vian’s bushwhacking has even led him to study the language of the native Ojibway people entitling some of the painting in the Ojibway language which one senses gives a sympathy to the surrounding landscape and to its original inhabitants and interpretors.

Rick Vian, “Stormbreak,” Oil on Canvas, 59”x84”, 2005

DETROIT ABSTRACTION Group Exhibition

As an extraordinary compliment to his own paintings Vian curated “Detroit Abstraction: Featuring 41 of the Most Noted Abstract Artists with ties to Detroit,” a remarkable collection of painting, sculpture, ceramics, and fiber works revealing the profound depth and width of the Detroit’s artistic landscape and of course another testimony to the sincerity and fidelity of Vian’s overall artistic project.

Holly Branster, “Bracket,” 72”x36”

There is too much to say about the phenomena of abstract art especially in this post-digital age, but quite simply one is overwhelmed with the diversity of ways of seeing and of the use of materials and processes that are represented in Detroit. The stereotyped mainstay of abstract art is painting and the standouts in Detroit Abstraction don’t surprise: Holly Branstner’s stunning “Bracket” is composed of an elongated rectangle with a monolithic, effortless stroke of brilliant yellow with strokes and drips of dark bloody reds. At the other end of psychic spectrum is Janet Hamrick’s smaller oil on canvas, “Undulating Drift,” a subtle reckoning of three panels of alternating stripes in a quiet pallet of taupe and mauve overlaying a series of diamond shaped rectangles. It is excruciatingly subtle and beautifully nuanced and impossible to describe. That’s why it’s a painting. It goes like that: from explosive abstract expressionism to minimalistic painting strategies, from biomorphic and surrealist automatism, to action painting, and the whole wonderful gamut of assemblage wall reliefs composed of cement, wood, metal, glass to cubist formalist sculptures, kinetic whirly gigs and textile hangings, ceramic vessels and Japanese inspired altar-like constructions.

Janice Hamrick, Undulating Drift, 24 x 30

The explosion that was/is Detroit’s art scene is beautifully realized in Vian’ s deft selection of artists. The diversity of materials and processes speaks of the battle against encrusted formalism that has been a preoccupation of Detroit artists and is a fulsome reminder of the tremendous will and passion of this place-in-the-straits to give shape to the world.

Vian’s paintings occupy the first floor of the spectacular Janice Charach Gallery and the Detroit Abstraction exhibition occupies the second floor. Both are stunningly installed in this amazing space that is part of the Jewish Community Center campus. It is a revelation even to the most experienced art appreciator to see the quality, complexity and integrity of the Detroit’s scene.

Group Abstract Exhibition, Installation image, Courtesy of Glen Mannisto

The artists included (and Vian bemoaned that there wasn’t room for others he had selected) in the Detroit Abstraction exhibition include: Diana Alva, Anita Bates, Robert Bielat, Holly Branstner, Coco Bruner, Jim Chatelain, Terry Lee Dill, Barbara Dorchen, John Egner, Gary Eleinko, Todd Erickson, Marcia Freedman, Brenda Goodman, Dennis Guastella, Carole Harris, Janet Hamrick, Al Hebert, Meighen Jackson, Lester Johnson, Dennis Jones, Ray Katz, Brian Lacey, Addie Langford, Charles McGee, Allie McGhee, Robert Mirek, Erin Parish, John Piet, Tom Phardel, Sharon Que, Curtis Rhodes, John Rowland, Douglas Semivan, Gilda Snowden, Robert Sestok, Dayton Spence, Ron Teachworth, Nancy Thayer, Russell Thayer, Lois Teicher, Albert Young.

Rick Vian will talk about his work and the Detroit Abstraction exhibition in the Janice Charach Gallery December 4^th at 1:00PM. The two exhibitions close Thursday December 8^th at 8:00PM.

Brittany Nelson & Susan Campbell @ David Klein Gallery

By Clara DeGalan

On November 20, 2016

In Paintings, Photography, Prints

Alternative Process, work by Brittany Nelson, and Chasing Venus, work by Susan Goethel Campbell and window installation by Ellen Rutt.

Brittany Nelson, Installation image, All images courtesy of the David Klein Gallery

The newest pairing of artists on view at David Klein Gallery’s Detroit space, photographers Brittany Nelson and Susan Goethel Campbell, engage history, science, and formal beauty in ways that reveal what ancient knowledge and antiquated technology can tell us about the visual stake we hold- and the tissue-thin mastery we take for granted- over the natural world.

Brittany Nelson’s collages of “science graphics” and 3D Photoshop forms onto tintype prints (one of the earliest photographic mediums) follow a simple, clever formula of overlaying heavy, historic substrates (thickly mounted tintype photographic plates that warp out of foursquare precision and are often hung at a slight angle to the wall, visually reinforcing their whiff of memento mori and the slow melt of age) with graceful, feather-light graphics culled from contemporary modes of visual shorthand- graphics, grids, algorithms, flowcharts.

Brittany Nelson, Diagram I, 2016, tintype photograph on Poeder coated formed aluminum,10 x 8 x 15″

These two modes of information capture dance uneasily with one another on Nelson’s dark grounds- there’s a dissonance to seeing these fleeting, fast-moving graphics inlayed on such iron-clad media, designed to catch and house a physical shadow of a once real, living, or tactile thing. Nelson’s work resurrects something of the uncanny magic photographic technology once held for people in the Nineteenth Century- its strange promise of immortality, its mind-bending harnessing of modern science.

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Brittany Nelson, Mordancage 4, 2011, C-print,72 x 72, Edition of 3

The dark, atmospheric voids characteristic of tintype photography find a visual dialog with Susan Goethel Campbell’s Chasing Venus. This work documents, in film and photography, a patch of sky over the Rocky Mountains in Alberta, Canada, during the Summer Solstice, when the moon appears to be following Venus across the sky.

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Susan Goethel Campbell, Chasing Venus, 1 of 5, 2016, 3 channel video installation plaster fragment, 1920 x 1080″

Campbell’s work documents, in solemn stills and dizzying, feather-light films, the turning of the planet from day to night, toward and away from an incredible full moon. The faceted surfaces of mountainous landscape, vast sky, and brilliant earth (her installation includes visuals that are nearly impossible to photograph, a video projection of time-lapse sky-scape dancing on a wall mounted with a chunk of granite, a pile of glittering mica poured onto a shallow shelf that casts uncanny tones of light onto every surrounding surface) utilizes straightforward modes of visual documentation to hint at the sublime- crystalizing, in moment-to-moment documentation, both our concept of linear time and the sublime impossibility of conceiving the clock of the universe.

Susan Goethel Campell, Chasing Venus, Still I, 1 of 5, 2016, Digital print on polyester spray paint, 22 x 28″

The kernel that unites Nelson and Campbell’s work in these dark, visually haunting twin exhibitions might be an “exposure,” manifested in the beauty and opacity of both artists’ combinations of technique and content, of the failure of such analytical, documentary methods to capture eternity. Watching the sky and drawing it into visual rhymes with small, shiny objects, as the ancients did, distilling the visible into frozen shadows, as more recent generations did, or collapsing the world into descriptive algorithms, as we do now, may, or may not, bring us any closer to a true understanding of the reason we are here, or why we’ve been given these abilities. Alternative Process and Chasing Venus do not attempt to answer this question- they cross-pollinate materials to broaden, deepen, and beautify its scope.

Also on view is a colorful, lively installation by Detroit-based, multi-disciplinary artist Ellen Rutt. Rutt’s window installation provides a vibrant counter-balance to the darkly vibrating grounds and documentary atmospheres of Nelson and Goethel-Campbell’s work.

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Ellen Rutt, David Klein, Window Installation, 2016

Alternative Process, work by Brittany Nelson, Chasing Venus, work by Susan Goethel Campbell, and Ellen Rutt’s window installation is on view at David Klein Gallery Detroit through December 17, 2016.

Caledonia Curry @ Library Street Collective

By Clara DeGalan

On November 14, 2016

In Installation, Paintings

A Light at the End of the Tunnel- Caledonia Curry (Swoon) at Library Street Collective

“…You can start to create little cracks in the façade of possibility and inevitability that overlays all of our lives.”-Caledonia Curry at her TED Talk, 2010

Swoon, Installation Image, All Images Courtesy of Clara DeGalan and Sal Rodriguez

Caledonia Curry (tag name Swoon) seems intimately aware of the ephemeral, fragile nature of both the human body and human endeavor. This sensibility weaves through all of her bodies of work, which make up for the degradability of their materials with iron-clad social consciousness and fierce political engagement. Curry first gained attention on the global art scene for her large scaled, lyrical street art prints, which, like her work at Library St Collective, engage with the figure overlaid with gorgeous lacework of iconic decorative flourishes and symbols. Curry would scout out locations for her prints, then install them, on walls, lamp posts, and other architectural surfaces, using wheat paste. These delicate cut-paper and print collages are not meant to last forever- they fade away, gently and gradually, like distant memories. To Curry, physical immortality of work is beside the point- this seems unusual, given the highly formal, decorative nature of her constructions. What such highly developed technical skill and labor intensive process is meant to foster is less reverence for the made object itself than a holding of space for a new perspective, a chance to recontextualize one’s relationship with place, with symbolism, with one’s own identity.

The same curious mixture of preciousness and ephemerality finds its way from Swoon’s street art practice into Curry’s site specific installation at Library St Collective. As lovingly wrought and beautifully realized as Curry’s life-sized figurative prints and elaborate cut paper confections are, they are installed with no greater measure of preciousness or economic value than her wheat pasted public works. Curry’s figurative cut out prints hang suspended from strands of fishing line, freed from the relative safety, and canonical indexing, of traditional wall installation. They move in the breeze- they’re equally visible from front and back. Curry’s incredible paper cut-outs, executed in black and white and resembling every beautiful, lace-like form a viewer can call up, from snowflakes to double helixes to Celtic knot work, drape freely from the gallery’s ceiling and dangle, like the figure cutouts, from strands of fishing line, inviting touch, uncannily mimicking the slight movements of sentient life.

Swoon cut paper intallation-detail

The heaviness of Curry’s concept for her site specific install at Library St is what grounds these floating works. Taking the narrow, tunnel-like structure of the front part of the gallery as inspiration, Curry is attempting, with The Light After, to recreate for the viewer her own narrative of a phenomenon known as “the empathetic death experience.” Curry encountered this phenomenon in a dream of a space filled with falling snow and “blossoms of light,” during which she felt that her mother had died. Upon awakening, she discovered that her mother had, indeed, passed away.

The snow-blossom motif of Curry’s installation occupies Library St.’s space as a tunnel of atmospheric light similar to those described by people who have had near-death experiences. Dispersed around this bright, ungrounding fairyland are Curry’s life-sized figurative prints which, despite their ephemeral construction, nail the viewer with quietly appraising or imploring gazes, each taking the form of a step on the initiation path toward death. Curry’s figures are iconic- an old, bearded hermit leaning on a walking stick, his lower body morphing into ramshackle architecture which crumbles, at his feet, into a profusion of skulls. A heartbreaking double image of a woman filled with youth and vitality, holding a baby, while her forward-projected shadow looms behind her, emaciated, rigged up with oxygen tubes, her eyes engaging the viewer’s in abject, human terror of proceeding down the very tunnel that surrounds her.

Swoon, Memento Mori, 2016, block print on hand cut mylar,edition3 of 12, 84-x-67″

Curry takes the viewer through this legendary tunnel, which leads into a stark hallway painted in black and white geometric and organic forms- a nice visual metaphor for the space between the end of the tunnel and what comes after- into the gallery’s larger, airier back room or, as Curry titles it, “The Meadow.” The figurative prints in The Meadow aren’t allegories of death, but of rebirth- the color scheme of The Meadow is warmer, more organic, the 3D elements more tactile and sensual- piles of green velvet take the place of the ethereal cut-paper hangings within the tunnel. Mother-child pairings and figures surrounded by simple, ancient symbols of life and birth- paisleys, triple knots, spirals- gaze invitingly out or, more often, appear turned inward, eyes closed, in a private ecstasy of union with the life-power of the universe.

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Swoon, Milton II, Diogenesis, 2016 block print on hand cut mylar edition, 3 of 6 89×66″

There’s an uncanniness, a formal directness, and a powerful combination of personal and political narrative to Curry’s work that makes it difficult to contextualize in contemporary studio practice. The bald allegory and mirror-image rendering of her figure-prints awakens the viewer to the power of such imagery as expressed in every layer of our society, from religious painting to Chuck E. Cheese animatronics- all of them evoke the same frisson. Curry’s work reveals why this is so. Confronted with our own image reworked into symbolism, we begin to examine the foundations of universal truths- birth, death, spirit, the afterlife, the sentience of so-called inanimate objects- with the understanding that these truths emanate from our own bodies. Our bodies are ephemeral. What we can do with them, change with them, what we can leave to succeeding generations, is eternal. It is this truth that forms the kernel of Curry’s work in every medium and context that she engages.

“Swoon- The Light After” is on display at Library Street Collective through November 26, 2016.

After Dark @ Detroit Institute of Arts

By Ron Scott

On November 6, 2016

In Photography

Installation, Detroit After Dark, Image courtesy of the Detroit Art Review

Photography at night has been around since the late 1800’s when photographers were experimenting with exposing a variety of sensitive chemicals to light, first on plates by Louis Daguerre, followed by salt prints on paper by William Talbot. Later in the early 1900’s Alfred Stieglitz began working at night, and in 1932, Brassai published Paris De Nuit, a collection of black and white photographs of the streets of Paris at night.

The Detroit Institute of Arts (DIA) has turned to its collection under the direction of Nancy Barr, Curator of Photography, to produce Detroit After Dark. She says in her statement in the catalogue, “Detroit After Dark: Photographs from the Collection of the DIA takes a closer look at night photographs made in the Motor City just after 1950 through present day—its city streets and architecture, as well as its diverse and often frenetic music scene.”

For the purpose of this review, this writer will draw a distinction between the journalistic photography (mostly the Detroit music scene) and focus on the art photography in the exhibition.

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Robert Frank, Untitled, Gelatin silver print, 1955

With a Guggenheim grant in his pocket, Robert Frank bought a used Ford in June of 1955 and began a 10,000-mile journey around the United States. Detroit was one destination where he stayed long enough to capture images from Belle Isle to this Romeo strawberry stand at night, illuminated with a string of party lights. After developing and making contact sheets from 760 rolls of black and white Tri-X film, 83 images would be enough to make The Americans, first published in Paris, then eventually the United States. Frank didn’t set out to address the issues that faced the country, but inadvertently became an incontestable witness, using his 35mm Leica Rangefinder, to the solitude of American society.

Scott Hocking, Jefferson at Dearborn, Pigment Print, 2012 Courtesy of the DIA

Scott Hocking, a Detroit artist who has created site-specific sculpture installations and a variety of photographic projects, provides the viewer with a stark image of a lonely building on Jefferson Avenue, formally centered with time exposure that provides a lit building against a Windsor backdrop. The exposure is possible because of the stillness in the frame. Detroit Nights is an ongoing project, documenting the streets, railroads, quiet corners and unpredictable public lighting of Detroit at night. In a statement, he says, “I am interested in forgotten places, and things kept out of sight. I don’t know if this is because I’m from Detroit, a city that has become known for urban prairies and empty factories; but I try to work the same way no matter where I am.” Scott Hocking is represented by the Susanne Hilberry Gallery.

Jenny Risher, Image courtesy of Jeff Cancelosi

Jenny Risher, shown here holding her book with her photograph from the exhibition, is a commercial photographer with a collection of personal work. Known for her book, Heart Soul Detroit, where she interviewed and photographed 50 iconic Detroiters, including Smokey Robinson, Jack White Eminem and Lily Tomlin. Here in this image is Ms. Risher holding open her book, revealing the image from the exhibition, Mr. Porter.

Jenny Risher, Mr. Porter, Pigment print, Courtesy of the DIA

Dave Jordano, Abandoned Brush Park Building, Pigment print, 2010, Courtesy of the DIA

Dave Jordano first established himself as a successful commercial photographer in Chicago working with national print campaigns, before turning his lens to personal work here in Detroit. Jordano was born in Detroit and graduated from the Center for Creative Studies in 1974 with a BFA in Photography. His large image, Abandoned Brush Park Building, dominates the exhibition with its scale depicting the contrast between this abandoned building and the lights of Comerica Park. He says in a statement, “These photographs represent a visual document that speaks to the quiet determination of Detroit residents, both as independent shop operators and as home owners who have survived the long and difficult path of living in a post-industrial city stripped of economic prosperity and opportunity. These photographs speak truth without casting an overly sentimental gaze.” Like other photographers in Detroit, there seems to be a trend in capturing a still image using a tripod to provide the ability to depict a large depth of field and focus, highlighted by a light source.

The Detroit Institute for the Arts and its permanent collection bring powerful imagery in the Detroit After Dark, exhibition. DIA Director Salvador Salort-Pons says in the catalogue, “The DIA is indebted to the photographers committed to their practice in the city and who have contributed to this exhibition. I am grateful to those artists who have gifted their work to the museum and to the patrons who have donated art and contributed funds for the purchase and acquisitions of photographs for the permanent collection.”

Detroit Institute of Arts

5200 Woodward 9 a.m.-4 p.m. Tue. -Thu., 9 a.m.-10 p.m. Fri., 10 a.m.-5 p.m. Sat.-Sun.

Exhibition free with regular museum admission. Admission to DIA is free for residents of Wayne, Oakland, and Macomb counties. Others: $12.50 adults, $8 seniors, $6 ages 6-17.

Experiment of the Modern Gaze @ Popp’s Packing

Rick Vian @ Janice Charach Gallery

Brittany Nelson & Susan Campbell @ David Klein Gallery

Caledonia Curry @ Library Street Collective

After Dark @ Detroit Institute of Arts