Detroit Group Exhibition @ Oakland University Art Gallery

The Oakland University Art Gallery (OUAG) has opened an exhibition, Who Were They Then, on October 20, 2018, that puts together visual artists with ties in and around Detroit. Five artists working in different media create a biographical sketch of their work spanning back to what they might consider as early beginnings.

Morgan Barrie, Pest 1, 40 x 50″ digital archival print, 2018

Morgan Barrie photo collages are landscapes that usually include an animal, as in the example Pest 1, a 40 x 50-inch digital archive print, in which the artist places an animal on a pedestal and surrounds the subject with flowering plants native to the Midwest.  The formal arrangement and centered fox, with a solid background and this array of plants carefully placed, would seem to be an application in composition, shape, and color. Needless to say, all of these elements are brought into a digital environment, carefully placed, where the light varies slightly.  There are five of these vertical compositions, each with an animal at the center: a dog, a fawn and a cat.    Her work in Re: Formation, at 600 Jefferson Avenue, Toledo, Ohio where she places a female figure in the landscape with floating Plasticene bags in Future Seasons, suggests an interest in environmental issues. In fact, she has created a body of work dominated by these bags set against clean water and open sky as subjects.

She says in her statement, “I view landscapes as teeming with millions of constantly changing factors…I like to have sections of the frame that are overwhelming to capture that idea.  All my work is a way to have a dialogue with my fear and confusion as I try to understand the way we as humans relate to the rest of the natural world, or rather don’t relate to it.”

Morgan Barrie earned her Bachelor of Arts in photography from Columbia College Chicago and her M.F.A in Photography from Eastern Michigan University.

Mel Rosas, Rooftop III, 6.5 x 9.75″, lithograph, 1981

 

Mel Rosas, Professor of Painting and Drawing at Wayne State University takes us way back to his lithograph Rooftop III, 1981 as a starting point for his magical realism in a landscape. There are few artists from Detroit who have had a long and successful career being represented in New York City by a major gallery.  For Mel Rosas, it was 1991 when he began his relationship with Davison Contemporary then located on 724 Fifth Avenue, and in 2014 moved to Chelsea on West 26th street.

These images over the years have shared common components.  The apparent elements are his use of a flat picture plane facing the viewer, and always an opening to space beyond, whether it’s the ocean, a sky, a room or just around a corner.  The settings are Latin American culture and ethnic identity, an influence that may come from his father’s homeland of Panama. The symbolism included on his street walls is often of graffiti, old movie posters, religious iconography, traffic signs and automobiles from the 1950s. Occasionally the figure of a man in a white suit appears in his work, as in Searching for the Romantic, where he places himself in the painting. In visual art, as in literature, it’s hard to get beyond oneself.

Mel Rosas, Gentrification, 36 x 36″ Oil on Panel, 2016

In Gentrification, Mel Rosas gives us the iconography of a Latin urban landscape with suggestions of construction and rebirth. Traditionally, he places his focus on composition, color and space with extraordinary detail to texture in this one-perspective rendition of a street scene.  Most who are friends of the artist know he has always added two numerals indicating his age at the time he executed the work.

He says in a statement, “I have developed an interest in Latin American Literature, both realism (Bolano) and magic realism (Borges, Marquez). I am fortunate to have traveled through several Latin American countries; my research is an ongoing investigation addressing questions of place, culture, and ethnic identity.”

Mel Rosas earned his Master of Fine Arts from Tyler School of Art, Temple University, and he has been a recipient of grants from the National Endowment for the Arts, Elizabeth Foundation for the Arts Grant, Charles H. Gershenson Distinguished Faculty Award, and a Pollock-Krasner Foundation Grant, New York, NY, 2009.

Bryant Hillman, Honda Accord, 16 x 20″, Acrylic on Canvas, 2014

Bryant Tillman is a Detroit artist who has been painting Detroit expressionistic landscapes for over thirty-five years.  In this exhibition, he presents ten works of art, fluid representational compositions of cars, people and buildings.  These high-contrast acrylic works are probably executed in a short time, from start to finish before the acrylic dries. In his painting, Honda Accord, he paints in his shadow as he takes his image during low light.  Back in the studio, the “moment in time” gets rendered with a loose, painterly brush stroke with surfaces that grab the viewer’s attention.

He says in his statement, “Painting like a dead Frenchman, you tend to often think like one when selecting subject matter, locale, or method. Natural scenes and surroundings, like freshly manicured lawns and gardens or wildly verdant wooded areas, are not alien to Detroit.  Also, the impressionists often included subjects that are considered contemporary to that time…steamships and steam locomotives, for example. So I felt it only natural to include in my work an occasional late model car in my urban scenes.”

Selected as the Visual Arts Fellow in 2013 by Kresge Arts in Detroit, Tillman shows things as they are, and lets the viewer bring their experience to the work. With his use of long, low shadows of light and color, the viewer sees a more vibrant, fertile reality than what actually exists.  He puts a painterly face on the landscapes of Detroit.

Carole Harris, Time and Again, 43.5 x 37″, cotton, silk, linen, 2018

For this writer, what is interesting about the biographical sketch of Carole Harris is the earlier work, as in View from the Kitchen on Preston Street, from quilt/ fiber artist to abstractionist, as in Time and Again, 2018.  Having written about Harris’s work when exhibited at the N’Namdi Center for Contemporary Art and recently in her exhibition, Repetition, Rhythm, and Vocab, with Allie McGee, at the Detroit Institute of Arts, you see a unique path to non-representational art. Here in the OUAG exhibition, you view the 1999 piece, cluttered with improvisational polygons, triangles, rectangles and squares to the 2018 work, Time and Again, that depends more on the subtlety of stitchery, layers upon layers of cloth and color, while establishing a more distinct composition working from a dark background to a light off-set foreground.  One can trace back to pre-Reconstruction in the South, where quilts were necessities, and female artists went unrecognized for their aesthetics, but Carole Harris had her beginnings in textile work in the mid-1960s and gradually evolved to a pure abstract narrative, with original gestures, layered textures and innovative compositional ideas.

She says in her statement, “As an art student in college, I remember seeing the work of Romare Bearden as one of the first artists I can remember who depicted African American imagery, which made an impact even though, and probably because, it was abstract.”

Carole Harris earned her Bachelor of Fine Arts degree from Wayne State University and was the recipient of the 2015 Kresge Visual Art Fellowship.

Clinton Snider, The Last Winter, 42 x 84″, Oil on Panel, 2013

A familiar artist in Detroit, Clinton Snider’se work in this OUAG exhibition stands by itself in a separate corner space. His expressive post-industrial landscapes vary in both size and shape, occasionally including a figure.  In this sizeable rectangular work, Last Winter, Snider creates an eerie light that sets a mood as a low sunset casting long shadows across the snow.  It almost feels apocalyptic.  Trimmed and truncated trees surrounded by old debris speaks to a time gone by in a once thriving era, perhaps Detroit, waiting to be repurposed. The architecture in Snider’s buildings are almost always pre-world war II, reflective of an older neighborhood, and sometimes nostalgic, as in Back Forty, where the extra wide angle image plays heavily into the composition with extended shadows from objects spread out across a lush lawn.

Not many visual artists collaborate, and one collaboration that includes Clinton Snider is with fellow artist Scott Hocking. Most notably, their installation, Relics, consists of some 400 identical square boxes of Detroit’s discarded found objects and rummage, that were connected and set up as a grid in the exhibition Artists Take on Detroit at the Detroit Institute of Arts in 2001.

Snider says in a statement, “I think that simply growing up in and around a city with a post-industrial status like Detroit has had the greatest effect on my work over the years. It feels like walking through the texture and material substance of history. Still, within this crumbling of infrastructure and architecture, a spirit remained intact that manifests itself in creativity, innovation, and a tenacity of people, that changes one’s perspective on how society functions. “

Clinton Snider earned a Bachelor of Fine Arts from the College for Creative Studies and was represented by Susanne Hilberry gallery.

Who Were They Then was curated by Dick Goody, Professor of Art, Chair of Department of Art & Art History and Director of Oakland University Art Gallery. In recent years he has reached out to curate many new types of exhibitions that would include installations, conceptual work and leading types of experimentation by artists from all parts of the country and beyond. Here, Goody comes back to an exhibition of Detroit artists, largely made up of representational work (with the exception of Carole Harris) that survey the artists’ work over time, and in some way feels like he comes full circle.

Who Were They Then at Oakland University Art Gallery runs through November 18, 2018.

 

 

Gertrude Kasle Collection & See Through @ UMMA

Exercising the Eye

Robert Rausehnberg, Intermission(Ground Rules) Intaglio, 1996

In 1965, Gertrude Kasle established a gallery in Detroit’s Fischer Building with the intent of introducing the New York School of abstract expressionism to the Midwest.  The gallery lasted for 11 years, during which she acquired and exhibited works by luminaries such as Willem de Kooning, Robert Rauschenberg, and Grace Hartigan.  An alumnus of the University of Michigan, Kastle subsequently donated her muscular collection of American postwar art to the university’s art museum, and through July 22, Exercising the Eye celebrates Kasle’s visionary, connoisseurial eye.

Jasper Johns, Savarin, Color Lithograph on Paper, 1977

Exercising the Eye comfortably fills the UMMA’s large Taubman Gallery with a veritable Who’s Who of American Abstract Expressionism and Pop Art of the 60s and 70s, alongside a generous selection of works by artists perhaps underrepresented in the typical art-history survey.  An impressive spread of Rauschenberg’s works fills an entire wall, including diminutive aquatints and lithographs, a reminder that Rauschenberg produced far more than the “combines” for which he became famous. Nearly running the length of another wall is a suite of immersive,  large paintings by Grace Hartigan, a staple among America’s abstract expressionists and friend of Jackson Pollock, Helen Frankenthaler, and the de Koonings.  Hartigan worked both in abstract and figurative imagery, challenging Clement Greenberg’s vocal and uncompromising championing of pure abstraction, and here her immersive Tarzana applies frothy scribbles and uninhibited swaths of smack-you-in-the-face color to deliver the fleshy exuberance of a Renaissance Bacchanal translated into the vocabulary of postwar expressionism.

Other artists represented include Robert Motherwell, Adolph Gottlieb, Jasper Johns, and Philip Guston (the later represented with an original pen drawing advertising a show if his own paintings at the Gertrude Kasle Gallery).  Exercising the Eye perhaps suffers mildly  from a lack of thematic continuity beyond its works having been collected and exhibited by Gertrude Kasle, shrewdly perceptive as she may have been.  But its strength rests on the admirable willingness of Kasle to acquire and exhibit works by worthy artists that had yet to attain household-name status, and this exhibition is a markedly inclusive reflection of the climate of postwar American art, which often seems mischaracterized almost as a sort of boys-only club.

The Treachery of Images

Elliott Erwitt, Cracked Glass with Boy – Colorado, Gelatin Silver Print, 1955

Concurrent with Exercising the Eye, the UMMA is also presenting a show of pictures in its photography gallery which collectively aim to “expose the contingent nature of reality” through a series of visually beguiling photographs, each guaranteed to procure a double-take from the viewer.  The exhibition, See Through: Windows and Mirrors in Twentieth-Century Photography, brings together an eclectic selection of images that visually pun on the nature of the image and in which nothing is quite as it seems.  It’s as if the visual devilry of Rene Magritte has been transposed into photography, and, impressively, all of it prior to the advent of photoshop.

Walker Evans, Penny Picture Display, Savannah, Gelatin Silver Print, 1936

Walker Evans, generally known for his soul-wrenching portraits of down-and-out Depression-era families of the American South, is here represented with an uncharacteristically lighthearted set of illusory images that seem to portray special depth where there is none.  A wry photograph of a mirror in a hotel lobby, for example, seems to open up a portal in the picture plain that leads to another room; of course, there’s nothing in front of the camera but wall and glass.

Several images make playful use of distortion caused broken glass.  Carl Chiarenza’s  Bat Windowpresents a smashed window, its break forming an ominous angular black hole resembling the shape an abstract bat; the encroaching field of black recalls the schematic of a Robert Motherwell painting.  And Algimantas Kezys’ fragmentated reflection of two silhouetted male forms staring into a shattered mirror seems cubist, like a much paired down version of Picasso’s Les Demoiselles d’Avignon.

Such a theme as this naturally opens the door to moments of subtle humor.  Robert Doisneau’s wonderfully mischievous  La Dame Indignée (“the indignant woman”) captures the moment a Parisian woman passes by a storefront window displaying a lascivious and revealing picture of a nude woman and gives the work a fiercely disapproving scowl.  The picture was part of a series for which Doisneau stealthily photographed the varying reactions of passers-by, with this indignant woman on one end of the spectrum, and a visibly enamored man craning in for a closer look, on the other.

See Through is a small exhibition, fitting in its entirety on two perpendicular walls on the UMMA’s third-floor atrium.  Nevertheless, While the primary draw of the show is visual, there’s a cultural resonance to these photographs which whimsically distort reality.  After all, the alarming spread of pseudo-news on social media has demonstrated that a provocative image divorced from context can easily pass itself off as truth, and this exhibition serves as a gentle reminder not to instinctively take images at face value.

University of Michigan Art Museum

Exercising the Eye:The Gertrude Tase Collection, through July 22, 2018

See Through: Windows and Mirrors in Twentieth-Century Photography, through September 23, 2018

 

 

 

 

Scott Hocking @ David Klein Gallery

Detail of Installation View of “Scott Hocking: Old” Photo courtesy of Robert Hensleigh

Some sixty years ago, in the spirit of the Avant-garde, earthworks artist Robert Smithson– among other American artists like Donald Judd, Dan Flavin, Sol Lewitt—attempted to escape the confined space of the traditional artist’s studio, and to undo the tyranny of studio practice by redefining its traditional image/object making , and by commencing what he called an “expeditionary art.” Taken to meandering the industrial landscape of Passaic New Jersey, Smithson took Instamatic photos of  commonplace  industrial infrastructural constructions (bridges, smokestacks, drainage pipes) and, like Duchamp did with commonplace artifacts he called “readymades,“ Smithson re-recognized industrial infrastructure as monuments to civilization. Eventually also touring Mayan Mexico, he inserted mirrors in odd locations of the landscape to multiply and redefine Mexico’s already surreal visual landscapes. Smithson finally explored the arid landscape of the American West where he created his Spiral Getty, the greatest of American earthworks, on the Great Salt Lake.

Scott Hocking, a kindred Detroit artist founded a similar practice two decades ago by meandering and drifting through the eroding landscape of Detroit. Out of found materials appropriated from abandoned factories and office building, he created ephemeral monuments of the derelict remains of the city; at once archeologist and alchemist, he photographed them as part of the project. Among his many captivating projects Hocking created a huge stone egg in Michigan Central Train Station. He constructed a ziggurat in the Fischer Body 21 factory. He built a pyramid of abandoned car tires on a suburban lawn. Hocking has continued that practice on an international level with 22 site-specific projects throughout the world to date including works in France, Germany, Australia, Iceland, China, as well as throughout Michigan, Florida, New York; he now returns to the confinement of the Gallery space with an understated, thematically charged exhibition.

Scott Hocking, “Old,” 2018, gypsum, patina, salt.

“Scott Hocking: Old” returns him to the traditional, white box space of an art gallery at the David Klein gallery, and is a challenging summation of Hocking’s artistic process.

The center piece of the exhibition is the Klein Gallery’s Greek column that sits in the main entrance of the gallery. Riffing on the catacombs of Paris (which he visited) where the skeletons of millions of Parisian inhabitants were removed from cemeteries and placed in the ancient stone mines under the city, Hocking saw Detroit, as literally built upon the bodies and excruciating labor of human beings (autoworkers?). Symbolically surrounding the Klein gallery column (Hocking sees it as a huge structural bone) are thousands of bones and skulls cast by Hocking of hydrocal, made from locally mined gypsum, directly echoing Hocking’s own experience in the Paris catacombs, creating a monument to the souls that created Detroit. Somewhat macabre but in the tradition of gothic cemetery imagery, Hocking’s column, painted with a copper patina, and surrounded by a ring of salt crystals (mined from the ancient sea bed beneath Detroit), reflects his own family history of Cornish copper miners who worked in copper mines, thousands of feet underground, in Northern Michigan.

Punctuating the front room of the gallery, are six inscrutably mysterious artifacts created by Hocking of copper and tin and that are symbolic of the ancient history of copper mining in the Great Lakes area and of the presence of copper everywhere, from decorative architectural elements to the copper wire in Detroit’s electrical infrastructure. Most notably, “Country Boy,” the labyrinthine block of tangled copper wire in the front window of the gallery, is a “portrait” of a copper scrapper (homeless people who surreptitiously remove copper from derelict buildings and sell it) from whom Hocking bought the coiled wire. Country Boy, one of the many scrappers who Hocking had befriended in his research, had been killed in a hit and run. Like many of Hocking’s pieces it is at once a singularly amazing object and, like much of Hocking’s art, a spot-on invention.

Scott Hocking, “Country Boy,” 2003-2018, copper wire, 18”x16”x11”

Photographic documentation of Hockings projects fill out the exhibition, including photographs of a 2015 site-specific sculpture that he composed of, and on the site of, an eroding barn in the “thumb” area of Port Austin, Michigan. Commissioned by an area farmer (this is the second barn-art commission in the area), Hocking raised a collapsing 19thcentury barn and rebuilt it “upside down” to create an as big-as-a-barn, ark-like sculpture in the middle of a farm field. A recent excursion to see the project revealed a hallucinatory-like structure amidst an enormous farm field. Walking toward the ark from half-mile distance, across the field of ankle-busting clods of furrowed mud, with the drama of a huge sky of scudding clouds as a backdrop, combined to create a dizzying, biblical-like experience. The eerie, voice-filled, wind, epic sky, huge, distant trees waving in slow-motion, evoked an unforgettable cinematic presence.

“The Celestial Ship of the North”, Port Austin, MI. Photo by Robert Hensleigh

Collectively, there is an uncanny element in Hocking’s site-specific projects where one perceives multiple forces, both metaphorical and real, and an esoteric body of ideas such as astrology, alchemy, and astrotheology, at work. In Hocking ‘s description of the origins of the Barnboat (also called The Celestial Ship of the North and Emergency Ark), he refers to an Egyptian myth that depicts the crescent moon, waxing or waning, floating upon the horizon of the sea as an ancient version of Noah’s Ark. Like the ancients then, Hocking relies upon observation of the forces of nature, the planets and moons, and myths and cosmologies to situate his art. His “Celestial Ship of the North” refreshes our mythological eyes and prepares us to see, like Smithson’s Passaic Industrial landscape, the world in a different light. He sees the world, not in terms of art history and its successive permutations, but in terms of mythologies, ancient history and material culture. Most of Hocking’s many site-specific installations have been destroyed, removed, or lie remotely inaccessible, but the energy and visionary magic that created them resides in the documented photographs.

Scott Hocking, “Triumph of Death, Mounting a Dead Horse, 1/11,” 2010, Archival Inkjet Print, 33”X49 1/2”

 

In addition to photographs of the Barnboat there is documentation of four other site-specific projects in “Old” that captures the energy and immediacy of Hocking’s process. In a residency at famed Australian artist Arthur Boyd’s home, among the uncanny, serendipitous and inspired events in Aboriginal landscape, Hocking discovered a photograph of another Australian artist, Sidney Nolan, mounting a dead horse. In the Australian outback of Boyd’s property, Hocking discovered the bones of a cow that had been devoured by another creature; he reassembled them into the shape of Sidney Nolan’s dead horse, and then photographed himself attempting to mount it. Like a movie still that evokes the movie’s story, Hocking’s photo is a surreal instance of the strange domino effect of the forces (art engenders life) that create meaning in art or life.

All the processes that Hocking employ suggest an engagement with entropy, of exploring the fallen world, and of a Sisyphean rebuilding of it in various layers and forms—from egg to ziggurat—from rebirth, to going to the mountain to communicate with the gods—carefully manipulated in stacked arrangements, expected to crumble, but that at once coherent and transformative and even alchemical. As we spoke at his recent talk at the Klein gallery he bemoaned the fragile, degenerating quality of photographic documentation but optimistically, hoping for future technologies to preserve his work. Hocking commented, “These images will probably last only a hundred years.”

Scott Hocking, “Celestial Ship of the North (Emergency Ark) aka The Barnboat, 1/11,” 2016, Archival Inkjet Print, 33”x49 ½”

 

Scott Hocking, Old, at David Klein Gallery through June 23,2018

 

 

Biennial All Media Exhibition: Terrain @ Detroit Artist Market

 

Installation View of Detroit Artist Market’s “Terrain” exhibition, Photos courtesy of The Detroit Artists Market, Matt Fry, DAR

Steadfast in its mission as a non-profit gallery devoted to contemporary art and community, the Detroit Artists Market once again opened its doors to the whole art community in its Biennial All Media Exhibition juried by Detroit’s visionary landscape painter Jim Nawara. In his call for entries Nawara made it clear that the definition of landscape was pretty much wide open:

The works for this exhibition may present engaging, evocative images and ideas that employ illusion, allusion, and/or representation of observed, interpreted, or imaginary landscapes.

Beyond that, his nuanced description of the possible parameters of landscape is a tutorial itself:

Natural and unnatural phenomena in urban, suburban or rural landscape subjects, concepts about geology, memory and landscape, history embedded in landscape, archaeology, space archaeology, aerial views, maps and cartography, seascapes, layered space, camouflage in landscape, still life in landscape, figure in landscape, skyscapes, nocturnes, weather effects, atmospherics, optical phenomena in landscape (opposition effect, sun pillars, fogbows, glories, etc.), or microcosmic and macrocosmic landscapes may be of interest. 

Nawara’s description of what he calls “Terrain,” increases our post-digital visual vocabulary for all things called “landscape” and certainly our appreciation of what he has included in the exhibition.

Sergio DeGiusti, “Time and the River,” (2014) Hydrostone, 21”X31”

Master Detroit sculptor Sergio DeGiusti’s hydrostone relief “Time and the River” is perhaps the exhibition’s quintessential representation of the earth’s terrain and sets the stage for much of the imagery of the exhibition. Sculpted and tinted in waves of iron oxide red, the hydrostone relief evokes the metaphor of primal forces shaping the earth’s molten magma interior into phantoms arising over millions of years, to structure the interior of the planet as we know it now. The blood red waves accumulate to congeal into enormous crystalline mountains of iron evolving into animated figures that shape the history of the planet. The figurative shapes that arise suggest the powerful, destructive forces of nature, even human nature, that are seen in early twentieth century neoclassical sculpture.

There are forty artists represented in “Terrain” fulfilling virtually every feature of Nawara’s description of landscape and every media but they all somehow suggest the classic dynamics of DiGiusti’s “Time and the River,” in which the powerful, yet graceful forces, of nature shape our planet. Ryan Herberholz’s “Reservoir,” is built around the image of a hallucinogenic derelict house, an all too familiar image to Detroiters, caving in upon itself and sliding into a sinkhole, which is kind of a metaphysical reservoir or sewer. Pastel colored oil floor boards and ceilings seem to melt and flow into the dark hole at the center of the image. Meanwhile out of the windows we can see utopian fields of green and a pastel landscape of tidy, cobbled together, rescued houses.

Ryan Herberholz, “Reservoir,” (2017), Oil on Panel, 48”X64”

Deborah Kingery’s large format, black and white photo, “Target,” captures the foreboding towers of the Enrico Fermi 2 nuclear power plant near Monroe, Michigan. Fermi 1, once a major threat to SE Michigan, due to a nuclear meltdown, has been decommissioned. Kingery’s infrared film print (film stock of the psychedelic 60’s because of its surrealistic effects on light and vegetation), beneath a huge ominous sky of vaporous clouds produced by the twin nuclear stacks, with the deer target in the foreground, pictures Fermi 2, the replacement for Fermi 1.

Deborah Kingery, “Target,” Infrared Silver Photograph, 33”X43”

One of the fine ironies of the exhibition is two works of art that document human interaction and collectively create a wonderful human landscape. Donita Simpson’s very humanizing photo of the artist Jo Powers pictures her in studio amidst art making materials, photos and sketches, including a study for a “steam shovel,” a tiny, toy model of one, and one of her enigmatic self-portraits and other accoutrements of an artist studio. Powers stares, meditatively, from the landscape of her studio, into the distance. The atmospheric, completed painting itself hangs above Simpson’s photo. It is of a fully-clothed woman in an excavated hole standing up to her knees in water, the steam shovel poised on an earth mound behind her. As always with Powers’ evocative images, interpretation is open but there is always both a solitary search and an enigmatic mission suggested. Powers’ modest, tonalist paintings, rich in painterly chops, always stay within themselves, and because of that are deeply satisfying.

Donita Simpson, “Portrait of Jo Powers,” (2016), 30”X30”

Jo Powers, “Site,” (2015), 12”X16”

There are not many group-exhibitions that, at least for this writer, gain much traction because of the, often-random application of art to a specific theme. Nawara however, has attracted, probably because of his own fine artistic history, a group of Detroit’s best artists who have addressed the mission with sincerity.

In other words, there’s many fine works in “Terrain” that make a dynamic contribution to developing the concept of terrain and only a few that seem a stretch. Jill Nienhuis insightful painting, “Boulevard Bob,” tracks the flora and fauna of typical alley terrain culture with the juxtaposition of a nomadic black dog, probably named Boulevard Bob, on the prowl for dinner and a stellar rendering of sunset lit mullein plant in the foreground. That there can be a beautiful sunset in an alley, with overgrown plants and trees and a derelict car, is fundamental to urban dwellers, especially Detroit, but that there is a specific alley culture that is recognized and celebrated, and punctuated by the noble mullein, is sensational!

This years’ Detroit Artist Market Biennial has many treasures and fulfills Nawara’s diversely imaginative definition of Terrain. Mel Rosas’ retablo influenced painting of an iconic street scene in Mexico is quietly suggestive of the elemental simplicity of that picturesque culture and climate. Sue Carmen-Vian’s articulate graphite drawing, “Pancake Race,” seems a comic commentary on the stereotypical role of women in the Human Race. Bill Schwab’s photograph “Roosevelt at Buchanan, Detroit/ Projection Djupavik, Iceland,” is layered projection of a dystopic factory with crumbling concrete walls, derelict clapboard house and building and haphazard electrical wiring punctuating the apocalyptic vision. One of the only ruin-porn-noir images that engages the surfaces of the derelict with technical invention and cinemagraphic sensibility. “Terrain” is rich in Detroit artists with many gems to be discovered.

Bill Schwab, “Roosevelt and Buchanan, Detroit/Projection Djupavik, Iceland” (2017), Photograph, 32”X42”

Biennial All Media Exhibition: Terrain, April 27-May 26, 2018,  Detroit Artist Market

Address   –  4719 Woodward Avenue,  Detroit, MI 48201

Contact  –  Web: info@detroitartistsmarket.org  – Phone: (313) 832-8540

Hours – Tuesday – Saturday,  11:00 A.M. – 6:00 P.M.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Cynthia Greig @ Paul Kotula Projects

“Cynthia Greig: Sans Souci”

Installation view of “Cynthia Greig: San Souci,” Paul Kotula Project, all images courtesy of Cynthia Greig

We have been looking at Cynthia Greig’s elemental photographs for years now. We look at them for their elegant and deceptive simplicity and uncanny calm. She has choreographed complex, intriguing photographic projects that engage art history and manipulated narratives that parody the representation of gender construction and sexuality. Both her “Representation” and “Nature Morte” (Still Life) series, with their ghostly picturing of common objects (household fan, globe, coffee cups) and traditional still lifes (with fruit, wine glasses, books, flowers) befuddle our definition of painting and photography, while exuding a formal sensuality and intriguing beauty.

Cynthia Greig, “Gallery Horizons,” archival pigment prints, 14.5”X 22,” 2013

Her current project, “Cynthia Greig: Sans Souci,” at Paul Kotula Project, continues her interrogation of the institution of art, with images of the interiors of well-known art galleries. A series she refers to as “Gallery Horizons,” features five pictures of the intersecting seam of where the floor of the gallery meets the wall. One of the iconic features of contemporary galleries is their characteristic flat gray cement or shiny, polyurethane floors. The best background color for exhibiting art is commonly thought to be white, so art gallery’s walls are almost always white with gray or wooden floors. The museum or gallery is an idealized space for showing art that has evolved since the mid 19thcentury into the proverbial “white cube.” Since Alfred Barr curated the famous 1936 Museum of Modern Art exhibition, “Cubism and Abstract Art,” the white cube has been the model for the ritualized exhibition of art and the ritualized social space of art patrons. However, in Greig’s “Gallery Horizons,” photographed in many galleries the United States and Europe, the art has been erased. Invariably, the intersection of drywall or plaster and the cement floor is left unfinished, resulting in a jagged seam at the bottom of the wall. With only a portion of floor and wall shown the image becomes something else and, remarkably, the image appears to be like a horizon line of where the sky meets the earth or sea.

Exploring her Gallery Horizons, you look at a jagged fissure bordered by shades of gray and white, at figure-ground ambiguity. A photo is incomplete until the viewer engages and with Greig’s images the viewer is even more complicit because of the uncertainty of what is pictured. Ultimately a white wall meeting a floor is identified but each of the five photos suggest other readings specifically. They become enigmatic images of open spaces which evoke emotions contrary to the social construct of art galleries: rolling ocean wave beneath icy sky, jagged coastlines along the sea, barren farm fields with lonely village in the distance. The viewer has an option to either enter the fiction or resist.

There is in Greig’s photographic practice a subversive action to question the role of the gallery by looking elsewhere, at the other, instead of the subject, which in a gallery is art. Each of the Horizons is photographed in a specific gallery, with the name of the artists who are being exhibited identified, which creates a conceptual context. In this hyperbolic space where nuanced perception of images–artistic as well as the vanity of curating ourselves—are almost solely the issue, the absence is rupture. “The horizons” themselves are something else, not only do they become something other than floors with walls they are the thing that shouldn’t be looked at. The floor meets the wall beneath the subject that hangs on the wall. There is an aspect of surveillance and appropriation in her project. These are main stays of contemporary photographic practice and of course all of them challenge concepts of beauty but Greig accomplishes both a critique and sublime representations of the white cube simultaneously.

Cynthia Greig, “David Novros/Paula Cooper/ New York, 30.5”X44,” 2017

A related and more recent series is entitled “Threshold,” which are large scale prints of gallery interiors. An edition of five is included in the exhibition, and again, the “white cube” is depicted with people looking at blank, white walls. Greig has erased the art. Like the “Horizons,” the galleries in “Threshold” create an austere, existential landscape, with the inhabitants– real people looking at art– becoming like characters in a Samuel Becket, Theater of the Absurd play. They stand in quizzical postures, performing nonsensical actions and, one imagines, articulating one artistic “cliché” after another. The Paula Cooper print is particularly evocative of this existential script with a figure, wearing trousers that seem too short, standing in an epic sized space with images of art surrounding him in reflections on the floor. The idea that all photographs are unanswered questions is even more doubly true with Cynthia Greig’s “Gallery Horizons” and “Threshold,” because they pose the riddle of “what’s going on here?”

Cynthia Greig, “Replication (Galerie Thaddeus Ropac/Paris), 80.5”X32,” 2014/2018

To emphasize the discursive eye that Greig has on the art world she has included two actual sized replicas of a doorstop that she has appropriated from an art gallery. One is composed acrylic resin and the other of plaster, graphite and wax. She also had one fabricated out of crystal but it was not shiny enough so she went with plastic one instead. They sit on classic gallery pedestals and, like the “Gallery Horizons” and “Thresholds,” perform an enigmatic subversion of the ideals of most art galleries by celebrating a derelict object found behind a door of a gallery. And perhaps the most decorative intervention is “Replication (Galerie Thaddeus Ropac/Paris),” a manipulated image of a gallery staircase in Paris. Both the doorstop and the replication of the stunning backlit metal staircase function, as all of her incisive but brilliantly maneuvered work does, as startling and ironic components of the structure of the art world.

In addition to her photographic practice Greig has also experimented with videos. In “Sans Souci” she has included, “Museum Mandala/Detroit Institute of Arts 2017/2018,” a video that she made of visitor’s legs and feet ascending and descending a stairway at Detroit Institute of Arts. It is edited in a fast moving, almost musical, kaleidoscopic fashion and extends her intervention into the art world as material for her own art practice.

Cynthia Greig, “A.W.E./B.P. Los Angeles, 2015/2016, 1.25X6X1.25 inches

“Cynthia Greig: San Souci,” @ Paul Kotula Projects

April 14-June 2, 2018