Born New York, 1952/BA, Beloit College/BFA, Minneapolis College of Art and Design/MFA, Cranbrook Academy of Art/Lives in Royal Oak, Michigan
With a virtual wave of the hand, Andrea Eis beckons all seekers of enlightenment to traverse an enfilade of tall columns for a consultation with the Oracle of Delphi. In this 1992 installation, a large, impassive visage of the priestess awaits the curious visitor at the end of the processional way. Once in her presence, red vinyl letters affixed to the photograph announce: SHE SPOKE HER MIND. Simultaneously, the truth seeker notes that at her feet, embedded in rocks on the floor, another phrase claims: THEY HEARD HIS. This startling contradiction, like a wallop to the head, swiftly apprises the visitor of the phallocentric dynamic between genders—then and now. As Eis asserts: “From Antigone’s battle with her conscience and her sense of moral duty, to Demeter’s conflict over separation from her daughter, mythic people struggled with dilemmas we still encounter.”
Born Sebastopol, CA, 1976 / BA, University of California Santa Cruz; MA & PhD (Performance Studies), New York University / Lives in Detroit
On a sunny Sunday afternoon last July, several hundred people crowded the Dequindre Cut, a popular recreation path in Detroit, to watch a dance. The performance, one of three public dance labs programmed to accompany “Here Hear,” the Cranbrook Art Museum’s celebrated exhibition of Nick Cave soundsuits, included music by Frank Pahl and choreography by Biba Bell. There is no telling what, exactly, the audience expected. What they witnessed was a distributed dance, a de-centered performance event, in which any vantage point along the Cut’s long, linear footprint offered a different view of different groups of dancers, some of whom slinked by in sinuous silence, while others posed, elegant and remote, above the crowd. Others danced a mannered duet involving the ritualistic exchange of their black or white soundsuit costumes, and the rest, by the end, were dancing in furious, ecstatic unison. When all was said and done, no one present had seen a complete dance, or the same dance. Everyone, however, had seen a dance by Biba Bell, an artist who specializes in the unexpected.
Gina Reichert, Born Cincinnati, OH, 1974 / BArch, Tulane University, MArch, Cranbrook Academy of Art / Lives in Detroit
Mitch Cope, Born Detroit, 1973 / BA, Center for Creative Studies; MFA, Washington State University / Lives in Detroit
There are effectively two periods in the recent history of Detroit art: before and after the publication of “For Sale: The $100 House,” the now infamous 2009 New York Times article that extolled the creative possibilities of minimally priced Detroit real-estate by relating the experiences of Gina Reichert and Mitch Cope, the couple behind art/architecture practice Design 99. After the article was published the pair were deluged with interview requests, and with e-mails from artists around the world requesting information on how to move to Detroit and participate. They decided that for a period of two months they would try to answer every media approach they received. At the end of that period their lives were irreversibly changed, and if the truth be told, so was the narrative of Detroit art. Continue reading
Born Lansing, MI, 1959 / BA, Hope College, Holland, MI / MFA, Cranbrook Academy of Art, Bloomfield Hills, MI / Lives in Farmington Hills, MI
Todd Erickson’s recent sculptures, the “River Series” of 2009-2016, treat the eye to a richly inventive array of looping, interlacing ovals and circles. Each sinuous variant, however, also harbors singular details and idiosyncratic extrusions that further animate these “bronze rivers.” They range from an occasional thickening of the slender, linear outlines to projecting “growths,” intent, it seems, on springing free of the governing rings and hoops. Cast in bronze from branches and twigs gathered by the artist, these restless rivers twist and turn, swerve and whipsaw as the eye flows around their final form.
Born Chicago, IL, 1940 / Lives in Detroit
David Philpot is an antenna, finely tuned to subtle frequencies. He listens carefully, receiving transmissions from as far away as West Africa, and from as nearby as God or the wood in his hands. His primary medium, fittingly, is the staff, an energizing rod that joins the earth to the sky via the human being who wields it.
Long before he ever considered himself an artist, the 30-year-old Philpot heard a voice call his name, leading him, amazed, to an oasis: a grove of trees in a Chicago housing project. A week later, Philpot, who had never abandoned his childhood habit of gathering and carrying sticks, and who had recently admired Charlton Heston’s staff in The Ten Commandments, woke in the night with a mission: to chop down one of those trees, and make from it a staff of his own. When it was done, he called it Genesis (1971), an apt title for the first of more than 350 staffs he has made in the 45 years since.
Born Grand Rapids, Michigan, 1971/BA, Wheaton College, Illinois; BFA, University of Colorado at Denver; MFA, Cranbrook Academy of Art/Lives in Bloomfield Hills, Michigan
Marcelyn Bennett-Carpenter would like for you, the viewer, to be involved. Engagement with her work, ideally, goes beyond aesthetic appreciation; her pieces are designed for physical interaction: wearing, blowing, navigating, and especially stretching. Tension is the fundamental quality of weaving; as a fiber artist, accomplished weaver, and instructor at Cranbrook’s Kingswood Weaving and Fiber Art Studio, Bennett-Carpenter’s work is fraught with a baseline tension that is belied at first blush by soft palettes and inviting surfaces.
Born Detroit, 1976 / BA, Bennington College; MFA, Columbia University / Lives in Hamtramck
There is a chrysalis-like flux in the recent artworks of Jason Murphy. You feel it in the roughness of his constructions, as if we’ve interrupted a process, caught something between stages, or found artwork paused mid-construction. You find it in the vacillation of materials, a bit precarious and unstable, with histories and symbolism referencing building, but also breakdown, negligence, and accident. This is artwork precise and unstable, beautiful but a bit unsettling. Continue reading
Born Dearborn, MI, 1969 / BFA, College for Creative Studies; MA (Media Studies), New School University, New York / Lives in Detroit
Scott Northrup’s recent temporary installation Hämeenkyrö, Mon Amour (2015) was comprised of text projected onto the landscape near the town of Hämeenkyrö, Finland, at sundown. For about thirty minutes, excerpts of scripted dialogue from Alain Resnais’s Hiroshima, Mon Amour and several movies by Finnish filmmaker Aki Kaurismaki, as well as Northrup’s own writing, crawled across the vast, darkening plain in what the artist refers to as a “love letter” to the beautiful, welcoming place he’d come to know after a month-long residency there. Continue reading
Born Battle Creek, MI, 1979 / BA, University of Michigan; MFA, Cranbrook Academy of Art / Lives in Detroit
Megan Heeres’s Invasive Paper Project is, in principle, quite simple: participants take vegetable matter from invasive plants, such as Phragmites, Honeysuckle, and Garlic Mustard, and use it to create paper. Continue reading
Born Detroit, 1943 / BFA, Wayne State University / Lives in Detroit
Carole Harris modestly describes her art practice as “that of a fiber artist working primarily in the art quilt tradition.” Yet very few of her quilts are “traditional,” four-cornered, or intended to swaddle, wrap, or warm one on a cold winter’s night. Rather, they are wall hangings, even “constructions” or assemblages—albeit crafted of soft, supple materials—often of a strikingly eccentric outline far from the standard rectilinear form.