During these dog days of summer, and in coordination with the celebration of Detroit Art Week, the N’Namdi Center for Contemporary Art has on exhibition I, Too, Am Detroit, in its main Gallery, featuring over twenty local Detroit Artists. Inspired by Langston Hughes poem I, Too, Am, America the exhibition seeks to spotlight the artists in Detroit and their influence building the creative community throughout the world. I, too, am, Detroit is an exhibition that focuses on diversity and inclusion within the culture of Detroit and beyond.
“We have to be very conscious and purposeful in making a holistic and diverse community. And, that’s why I think our three exhibitions are so important because it allows for our local artist and the diversity of the City to be highlighted during Detroit Art Week,” said Dr. George R. N’Namdi.
Detroit artist Shirley Woodson Reid portrays one of her many acrylics on canvas to produce an expressionistic figurative landscape Sisters Two, a style she perfected over the many years making of art in Detroit.
Shirley Woodson Reid was born in 1936, from a small town in Tennessee. An Artist and educator Shirley Woodson studied painting and art education at Wayne State University, receiving a Bachelor of Fine Arts degree and her graduate studies were begun at The Art Institute of Chicago with a concentration in painting and art history. As a part of her independent studies she traveled to nine countries in Europe, visiting galleries, museums and historical sites. Woodson completed her graduate work at Wayne State University and received a Masters of Arts degree in painting.
Known for his ever-evolving chair work, this untitled welded steel sculpture painted with a high gloss enamel yellow reminds us of a serialist approach to an idea grounded in an ordinary object. The variations on a chair theme has been seen in a large variety of galleries in and around Detroit dating back to early 1980’s. Kulak earned his MFA from Hunter College, NYC and continues to work with metals and industrial materials.
These tempura and encaustic crowded people portraits on a flat picture plane of the artist Diana Alva, feel like abstraction with a heavy emphasis on a black outline. The artist describes her paintings, largely done in acrylics, as “toothy.” She uses a “push-pull” technique, applying paint with brushes, cardboard or sticks, to create a “structural thicket” with textured lines reminiscent of calligraphy. A native Detroiter, Alva attended Henry Ford Community College and Wayne State University.
One of the most revered artists in Detroit is Charles McGee and to see a collage, Patches of Time V, Mixed media collage on Masonite from 1990 is both interesting and reflectively refreshing. The design elements imbedded are clearly indicators of work to come, from the painting in the Detroit Institute of Arts, Noah’s Ark: Genesis, to his recent sculpture at the Charles Wright Museum, United We Stand, his work has left his sense of design like a branding process. Born in 1924, from a family of sharecroppers, McGee did not start his schooling until he moved to Detroit at the age of 10 years old.
He says in his statement, “I’m delighted that nature gave me this propensity to share the little information it has given me. And that is the motor that drives me into tomorrow, thinking about what I can do to help humanity if indeed I can contribute.”
His works are on permanent display at Museum of African American History in Washington, DC, and has shown at the Brooklyn Museum and the Whitney Museum of American Art.
In addition in the Black Box at NCCA, Hampton Art Lovers Presents: “Ebony Broadsides, Celebration of the Masters”, a poster art exhibition featuring original signed exhibition posters of Jean-Michel Basquiat, Jacob Lawrence, Faith Ringgold, Betye Saar, John Biggers, Lois Malou Jones, Gordon Parks, Roy DeCarava, Oliver Johnson, Bob Thompson and Ed Clark. The show also includes original signed poster art of Elizabeth Catlett, Romare Bearden, Samella Lewis, James Denmark and Basil Watson. With special artist proof and studies of poster art by Ernie Barnes and A.C. Hollingsworth.
The N’Namdi Center for Contemporary Art opened with the sole purpose of introducing the community to art and its ability to inspire, edify and delight. George R. N’Namdi, believed in Detroit long before the resurgence post-bankruptcy and the new millennial demographic that has taken to our great city. NCCA has paved the way to bring art, education and opportunity for artists to exhibit and sell their work.