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 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 Royal Oak, MI, 1984 / BA, Naropa University; MFA, International Center of Photography – Bard College / Lives in Detroit and New York
Self-described “media activist” Kate Levy uses her extensive place-based research to explore issues of social justice through video, photography, and artist books. A central concern of Levy’s practice is who does or does not have access to means of representation. Highly conscious of her privileged social, economic, and educational background, she is determined to create working relationships that transcend this – even when it means giving up elements of creative control. For example, the 51 minute film I Do Mind Dying (2017) – covering water affordability and shutoff issues in Detroit from 2014 to 2017 – was developed in collaboration with numerous grassroots and advocacy groups. During the work’s production, Levy distributed cameras to people who lived in neighborhoods with high levels of shutoffs, and the subsequent material was merged with Levy’s own footage in a collective editorial process. The result is an urgent, and multi-layered, work that combines on the ground reporting with revelatory research to create a damning indictment of the web of injustice that envelops many Detroit citizens – recounted in the words of people in the thick of the action. Continue reading
Born Kansas City, MO 1981 / BFA, Kansas City Art Institute; MFA, Cranbrook / Lives in Detroit
Andrew Thompson considers art to be his “life organizing principle.” It is, for example, how he researches topics that interest him, how he collaborates with people he likes, how he remains untroubled by the question of what to do with surplus funds, and even how he investigates traumatic events from his past. Thompson believes there is no inherent meaning in life, and hence we must all create meaning for ourselves and those around us. It is a philosophy that propels him along a creative path of his own design, free from the careerist moves often considered essential in the game of being an artist. Continue reading
Born Union, NJ, 1957 / BFA, Philadelphia College of Art; MFA, California Institute of the Arts / Lives in Detroit
To animate is to create the illusion of movement. To bend and release a flip book, and watch the images flicker to life one page at a time, is to distill the essence of something that has fascinated Gary Schwartz since childhood. Hand drawn animation, flip books, mutoscopes, camera obscuras, zoetropes, and (especially) stop motion animation, he is endlessly captivated by any non-digital process that can be used to quickly create animated works – and he is never slow to tell you his definition of “quick,” which is to “create faster than I can think.” Schwartz is a perpetually moving whirlwind of creativity, who edits as he goes, uploads everything to his voluminous YouTube channel, and never revisits old projects. Continue reading
Born Charleston, WV, 1941 / BA, Eastern Michigan University / Lives in Detroit
Allie McGhee is a seven-day-a-week, 360 plus-days-a-year abstract artist. He has, from early afternoon until the waning of natural light in the evening, followed this blue-collar schedule for decades. McGhee is also an experimenter. He is as intellectually and artistically restless as liquid in porous soil. The range of his curiosity and breadth of inquiry is all encompassing. New directions pop up like spring flowers.
Liza Bielby, Born Flint, MI, 1980 / BA Kalamazoo College, MI; MFA Dell’ Arte International, CA / Lives in Detroit
Richard Newman, Born London, England, 1980 / BA Greensboro College, NC / Lives in Detroit
It’s 1970. The sixties are over, but not yet past. In a townhouse in New York’s Greenwich Village two members of revolutionary leftist group The Weather Underground are building a pipe bomb packed with nails and dynamite. They plan to use it to “bring the war home” to a dance for non-commissioned officers and their dates at Fort Dix, New Jersey. Casualties are inevitable. A third member of the cell is hammering out an accompanying statement on a typewriter, maniacally searching for inspiration in lines from Sophocles’ Antigone—a play whose message of non-conformity in war-time has achieved renewed currency in the Vietnam protest era. The book he reads from is not just any version of the play, but one by the legendary New York-based anarcho-pacifist ensemble The Living Theater—which is in turn a translation of a version by Bertolt Brecht. At that moment, the twin radical undercurrents of theater and far-left politics converge. Then the bomb explodes. So ends a pivotal scene in The Hinterlands’ kaleidoscopic 2016 art/theater project The Radicalization Process. Continue reading
Born Detroit, 1989 / BFA, School of the Art Institute of Chicago / Lives in Detroit
Some time ago a camel was shot. Later, artist Matthew Harrison acquired the animal’s right shoulder bone, complete with a ragged pre-existing bullet hole, and CNC cut a 130 mm diameter cylindrical through-hole, creating the sculpture Untitled (2015). Harrison’s simple intervention leads to a number of profound comparisons. First, the cut hole is jarringly precise, but still crude relative to the free-flowing shape of the bone. If the cut hole is a surrogate for man’s technical prowess, then it is also a reminder of how unsophisticated our engineering skills remain in relation to those of nature. Second, and this may be closer to the artist’s intentions, the physical violence of the gunshot hole seems archaic in comparison to the surgical symbolic-violence of the cut hole. If the gunshot hole symbolizes a period from the late-colonial era onwards, the cut hole can only point to the digital age. Continue reading
Born Imlay City, MI, 1956 / BFA, Wayne State University / Lives in Troy, MI
Ed Fraga remembers as a child taking a sheet of cardboard, folding it into a box, and looking at it, being thrilled to realize he’d created a small but powerful object. Later he started to populate the box, with dioramas, stage sets, magic shows for neighborhood kids, and other constructs of his imagination. “In a way,” he says, “I’m still trying to fill the box.” Continue reading