Born Karachi, Pakistan, 1973 / BSc, Columbia University, NY; MFA, UCLA, California / Lives in Detroit
An eight-foot-tall black monolith stands, 2001-like, outside an art museum in San Jose, California. To the naked eye it appears featureless, but when viewed using a phone camera, words magically appear on the screen. As one can imagine, it draws a crowd. It’s a piece from 2006, titled Seen-Fruits of our Labor, that illustrates many of the concerns of artist Osman Khan around that time, foremost among which was the need to look critically at the impact of the increasingly digitally-connected world through art. Continue reading
Born Detroit, 1987/MFA, Yale University; BFA, College of Creative Studies/ Lives in Brooklyn, New York
Mario Moore has learned to slow down. His paintings and drawings reflect his personal journey, his evolving understanding of the world, and his desire to spark conversation about the complexities of contemporary society. His powerful and assertive body of work channels narrative painting, social protest art, and traditional approaches to craft, and centers around revealing portraits of family and friends. A more recent series turns introspective, his personal story expressed through nearly-lost techniques and an interest in earlier periods of art that lend richness and sensitivity to his highly detailed compositions. Continue reading
Born Detroit, MI, 1949 / A.A. Henry Ford Community College, Dearborn; Coursework in Ceramics, Wayne State University, Detroit / Lives in Hazel Park, MI
Lines! It all started with lines for Detroit artist Diana Alva. Before she could recite the alphabet, Alva’s artistic-minded father, Julian, had her filling page after page with lines, any kind of lines, whether or not they made sense or were part of a coherent drawing, just to get her used to the feel of a drawing instrument in her hand and the mental process of creating something. Continue reading
Born 1970, Rochester MI / BA, Wayne State University / Lives in Hamtramck, MI
Chris Riddell uses dead rats as stencils. He makes sculptures that are also weapons, uses rotting ham and head cheese, the aural de/crescendoing of a squeaking wooden armchair, and the scent of lavender as material. He arranges sardines on auto grease and laundry detergent, constructs installations of armless, timeworn statuettes and found, fire-burned family photographs, tangles deflated sex dolls in plastic waste, and sets the mummified dead rat he stenciled with on a 2×4. All of it, everything you got, anything that’s around. His studio is all places and directions, centrifugal and multiplicitous. Smells and phonic material are there too, stinking and dripping and putrescent.
Born 1992, Udaipur, India / BFA, American University in Dubai, UAE / MFA, Cranbrook Academy of Art / Lives in Madison Heights, MI
Detroit-based multimedia artist Jetshri Bhadviya is profoundly concerned with technique. She’s lived much of her life steeped in it; entering her studio, you’re confronted by exquisite prints of her photographic work, crystalline recordings of her expansive, layered sound pieces, and (perhaps surprisingly, since she tends not to exhibit them) rows of well-executed oil paintings. Bhadviya grew up studying Kathak, a form of classical Indian dance. She is an avid student of history, religion, science, and gender. She is fluent in Hindi and English, and has studied Sanskrit.
But from this vast, rich education, Bhadviya has arrived at an understanding of technique’s dead end. Just as she’s hopped continents in pursuit of higher education and career, so has she sought to transcend the foundations of technical mastery to create a language, a practice, that is entirely hers. Bhadviya arranges archives of everyday sounds into staggering sonic maps, meticulously arranges signs in her still images to awaken ideas about gender, identity and place while uncannily canceling them out, and cloaks herself in swaths of confining fabrics for her performance work, crafting a balance between sophisticated and primordial, sensual and asexual, observant and blind.
Born 1968, Ann Arbor, Michigan / Studied Antioch College; The New School University; New York University / Lives in Detroit
Smash a teacup, reglue its pieces, paint them Tacky Trump Gold, wrap in barbed wire, then set the table and invite your neighbors in. Your neighbors are artists, the table is set with their own reimagined wares, and the invitation means resist. It is the second day of the 45th presidency, and Nancy J. Rodwan and co-curator Pam Murray are creating solidarity by hosting “The Uninvited” at Detroit’s Tangent Gallery. Several dozen artists sat at that table. Another fifty submitted to Rodwan’s “Never Again (Again)” – an outraged, satiric exhibit mounted at the Annex at 333 Midland to recognize the presidency’s 100th day.
Born 1984, Pittsburgh, PA / BFA, Maryland Institute College of Art; MFA Virginia Commonwealth University / Lives in Detroit
Performance, food, puppetry, sculpture (both soft and hard), video, quilting, agitprop parading, even rima oris theatrics. Enter Leslie Rogers’ work with a premise of play—as verb and noun. A vibrant, animated constellation of unfettered elements run through this diversity of forms: rhythmic, dynamic, and overflowing. Rogers speaks of her work in an intuitive, ambling fashion, imparting an exquisite corpse-like testimony, one anecdote leading into the next and, just when these elements appear leaning off topic, they fall squarely into the work, illuminated.
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Born 1986, Saginaw, MI/ BFA University of Michigan; MFA University of Iowa/ Lives in Highland Park, MI
Jennifer Harge is a student of the body — the black body, to be exact.
She lives to make them move, play, and most of all to speak; yes, speak, truth to hard social traumas and silent terror. And do not for a second misread Harge’s intention or vision of dance as an invitation to be entertained. In fact, keep your applause. This dancer turned movement artist, choreographer and educator, is after more – your mind.
Born Chicago, IL, 1964 / BA, University of Ife, Ile-Ife, Nigeria ; BFA, Kansas City Art Institute / Lives in Detroit
There is, it’s fair to say, a lot going on in a typical Jide Aje painting. Aje is both a visual interpreter of West African culture, and an interpreter of West African visual culture. If his starting point is fairly traditional, there is nothing conservative in his approach. Instead, his paintings illustrate a worldview in which cultures are dynamic, extensible, and in constant dialog with each other. It is a vision that, perhaps not coincidentally, is paralleled by an open-ended approach to painting that involves constant experimentation with process and media. The result is an immense body of work in which Aje simultaneously abstracts and explodes, constantly working to reduce his source concepts and visual language to their most fundamental forms, while never allowing them to settlIe.
Take, for example, Untitled with Blue Cowries #1, a relatively small work from 2007. The overall structure is a four-by-four grid, and many of the individual cells imply a further division into a smaller four-by-four grid. The work refers to the Ifá, the divination system that plays a central role in traditional Yoruba culture, and which is based on sixteen main books, each of which has sixteen parts (or Odu). The title, and the physical presence of the shells, refers to a method of divination in which eight Cowrie shells are cast, and depending on how they land (up or down) one of the 256 possible outcomes is indicated.
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Born Detroit, 1979 / Lives in Macomb Regional Correctional Facility, New Haven, Michigan
In 1996, when Yusef Qualls-El was sixteen years old, a Wayne County judge sentenced him to mandatory life without the possibility of parole in the Michigan prison system. Though his original sentence has since been ruled unconstitutional—a violation of the Eighth Amendment—he remains incarcerated, one of hundreds of juvenile lifers awaiting re-sentencing in Michigan. As Qualls-El puts it, “they threw away the key.”
Qualls-El was born in Detroit in 1979 and moved from neighborhood to neighborhood with his family before ending up on the city’s east side. He grew up watching morning syndications of Merrie Melodies cartoons and learned how to draw them; Bugs Bunny, Foghorn Leghorn, Marvin the Martian, and Yosemite Sam were all part of his self-blossomed art education. Drawing cars, often flying ones, was a recurrent pastime; their unfettered mobility represented “ultimate freedom” for him. A few years later, Qualls-El would be sentenced to mandatory life without parole for being involved—as a driver, not the shooter—in a homicide that would change the entire course of his life.