Born Newberry, South Carolina, 1983. BFA, Syracuse University; MFA, Cranbrook Academy of Art / Lives in Detroit, Michigan
The observation that an artist’s surroundings influences their work finds new relevance in the delicate geometries, intricate textures, and subtle color variations of Ruth Koelewyn’s restrained abstractions. A key reference for Koelewyn is the sky as it appears framed by architecture. This has given rise to the striking cyan blue monochromes of her ongoing Skyshapes series (2014-present), and the conceptually related Blue Triangles (2014-2015), Blue Crowns (2017), and Can Serrat Skyshapes (2019).
this highly interactive, online workshop, participants will work
collaboratively to apply the curatorial process to design and create
compelling online projects. During the workshop, participants will
work in small online groups to develop their ideas by answering a
series of guided questions. At the end of the course, participants
will get the opportunity to review either a design proposal or a
working prototype with leading area curators.
Dorota Coy, Born Lubin, Poland, 1978 / BA University of Vermont / Lives in Detroit
Steve Coy, Born Milwaukee, Wisconsin, 1978 / BFA, University of Michigan, MFA University of Hawaii / Lives in Detroit
Like many outside of Detroit, I first encountered the work of Dorota and Steve Coy through the film Detropia in 2012. Looking up at the glowing, gold-gas-masked Executives of the Hygienic Dress League Corporation (HDL) I never imagined that in 2020 I’d be emailing with Dorota to reschedule an interview when the opening of their exhibition The Five Realms at Wasserman Projects – along with all other social events in the city and across the world – was postponed due to a global pandemic.
As I clear my calendar, I wonder how many respirators are currently among HDL’s holdings, and whether that number affects the corporation’s value. There’s plenty of time for a deep dive on the internet to find out while I’m waiting for public life to resume.
What I discover is that Steve and Dorota Coy are not the Hygienic Dress League.
Born St. Louis Du Nord, Haiti/ BA, Florida State University; MFA, Maryland Institute College of Art/Lives in Detroit
The second time I saw Gracie Xavier, I was standing in front of Eastern Market Antiques on a late-summer Saturday, admiring a turquoise vinyl couch. Out of the corner of my eye, I saw Xavier in a kelly green dress. “I know you!” she exclaimed, as we had recently met briefly. Xavier was new in town, so the onus of a hello was on me. But I was mesmerized by the couch (and, if I’m being honest, not feeling terribly social) until Xavier’s bright greeting pulled me out of my shell. Everything about this moment, I’d come to learn, was quintessential Gracie Xavier—the vibrant colors, the warm approach, the being right in the thick of things, as if she’d lived here all her life.
These characteristics all underlie her most recent project, “Common Bond: Muslin Ladies Social Club,” (2018-present) a series of conversations/textile arts workshops for women in the largely immigrant communities of Banglatown, Brightmoor and Dearborn. Xavier designed the project after helping develop a vision and action plan for Banglatown, part of her work for a local nonprofit. During that process, many women shared that they felt isolated and desired spaces to connect. Xavier saw an opportunity to create that space through art. “People aren’t going to tell you what they’re thinking on sticky notes,” she often says, referencing a common top-down urban planning exercise. It’s when you break bread together or engage in other shared traditions that people begin to reveal, first, their stories, then their hopes and dreams.
When discovering the work of Detroit artist Darin Darby, it was not only the finished composition of Route To My Past(2019) that attracted me, but also the instantaneous memories that guided my curiosity about the maker and his portfolio.
The visual—a stylish young fella with a relaxed facial expression, standing on the curb with guarded arms as the number 3 Grand River bus approached—reminded me of living in Chicago and catching the number 3 King Drive bus from downtown to the South Side (never a dull ride).
Kristin Palm is a writer and educator. Her work focuses on the arts, urban planning and design, criminal justice, and aging and has been featured in The New York Times, New York Daily News, San Francisco Chronicle Magazine and Metropolis, among others. She is a member of the weekly Writer’s Block poetry workshop at Macomb Correctional Facility and is the author of a poetry collection, The Straits. She lives in Detroit.
Kansas City, MO, 1949 / BA and MFA, Drake University, Des Moines, IA / Lives in Huntington Woods, MI
From 1951 to 1985, Jeffrey Abt’s father worked as a traveling salesman dealing in costume jewelry. With sample cases packed, he traversed a sales region that encompassed south Nebraska, Kansas, north Oklahoma, and east Colorado. Abt accompanied him on occasion, allowing insight into what is routinely a salesman’s solitary life on the road. His father’s absence at home instilled a sense of rootlessness in Abt, compounded by the knowledge of the displacement that his parents experienced as Jewish refugees fleeing Nazi Germany during World War II.
Leyya Mona Tawil, Born Livonia, MI, 1975 / BDA University of Michigan, MFA Mills College, Oakland, CA
Mike Khoury, Born Mt Pleasant, MI, 1969 / BA(Econ) University of Michigan, MA Central Michigan University, MA Michigan State University / Lives in Northville, MI
On a sparse stage, a woman’s body rolls sideways, spinning about its central axis, ricocheting from one edge of the space to the other, back and forth, sometimes at alarming speeds and almost crashing into the audience, other times slowing down, exhausted. In comparison to the familiar, childlike, head-over-heels rolling, this movement seems alien and serious. The woman is clad in a stylishly cut, army-green, hooded raincoat and wears black boots that periodically land solidly but awkwardly on the floor, searching in vain for a physically sustainable way to continue the body’s rotation. Elsewhere on the stage, a black-clad musician holding a viola alternates between periods of repeated, siren-like glissandos and silence. There is a palpable push-and-pull between dancer and musician, but who is pushing and who is pulling is hard to say at any moment in this uncompromising performance.
Born Farmington Hills, MI, 1987 / BS, Wayne State University / Lives in Detroit
“What is an artist? A provincial who finds himself somewhere between a physical reality and a metaphysical one…”
Movement artist Rachael Harbert can be found dancing in that space between the lived and the dreamed. Propelled by nature, relationships, and other earthly things, she works in extremes that point to absurdities within the norm. Exaggerated gestures and surrealist imagery leap out from within her creations. Harbert’s body of work includes site-specific performances, installations, and stage presentations. Each confronts the viewer with urgent meditations on the human condition, and breathes into being the otherwise invisible, intangible, unsociable psyche.
Leah O’Donnell is a writer, choreographer and dancer. She has contributed articles and reviews to Dance Spirit Magazine, Detroit Metro Times, Ann Arbor Observer, DancePulp, and The University of Michigan’s Confucius Institute. As a dancer, Leah performed with the Metropolitan Opera, Saturday Night Live, Beyoncé, and more. She has created choreographic works for The Michigan Opera, Wayne State University, NewDANCEfest, and the ACDA Northeast conference gala.
Elena Smyth, Born Detroit, Michigan, 1990 / BFA, College for Creative Studies / Lives in Detroit
Aubrey Smyth, Born Detroit, Michigan, 1990 / Lives in Detroit
Artists Elena and Aubrey Smyth, working together as Armageddon Beachparty, have created a universe, an epic narrative of deities and powerful beings in vivid images across a wide range of media. A shared, life-long love of comics, street art, and mythology permeates their paintings and sculptures while their canny sense of branding propagates their vision via prints, clothing, watches, and other objects. The artists paint contemporary pop surrealism scenes while surrounded by their considerable output and the energy from a steady stream of admirers and buyers in what Elena calls a “perpetual motion machine” of creativity.
Mariwyn Curtin explores cities extensively on bike or on foot and documents the experiences in artists’ books or abstractly as “industrial embroidery” assembled from ephemera found along the way. An author and editor primarily in educational publishing and testing, she is happiest writing about art. She previously interviewed ten award-winning photographers about their craft to write the copy for Hasselblad Masters. Vol. 2 Emotion.
Born: 1952, Detroit, MI; Studied at Spelman College and Clark College, Masters of Art from Olivet College/ Lives in Romulus, MI
Trading low saturated pastels for eclectic textures of colored paper and acrylic paint, Judy Bowman’s recent bold and often jubilant collages have been years in the making. After a 35-year hiatus from art-making—a period during which she worked as a Detroit Public Schools educator and raised a family of 10—Bowman describes her return to canvas and to documenting the black experience as a “gift from the universe.”
LaToya Cross is an arts and culture writer and producer whose work has been featured by WDET 101.9FM – Detroit’s NPR Station, Essay’d, EBONY, JET, SouthSideWeekly.com, and blkcreatives.com She is passionate about highlighting creatives using their platform to shift, shape and analyze culture through an artistic lens.
Born Royal Oak, Michigan, 1965/ BFA, University of Michigan; MA, Wayne State University; MFA, School of the Art Institute of Chicago/ Lives in West Bloomfield, Michigan
Striped cubes, spheres, wooden limbs, wheels; Jen Fitzpatrick’s sculptures are like bizarre children’s toys, boiling down complex experiences into simple shapes to wrap your hands around. She encourages imagination and observation, endowing her minimalist geometric sculptures with bright colors and a hint of character, then handing them over to us to parse their meaning through active, tactile engagement.
Samantha Hohmann is currently studying art history and literature at Wayne State University, while also working as a research assistant and writer for the WSU Art Collection. She is interested in topics of race, gender, and sexuality, as well as the ways in which art and writing interact with revolutionary political and social movements.
Born Flint, MI, 1988 / BA, University of Michigan; MFA, Cranbrook Academy of Art / Lives in Detroit, MI
Can you grow an apple with an Apple? Can you ever really describe the wind? These are the sort of questions – often at the intersection of culture and agriculture, and at the boundary between the digital and the physical – with which Ash Arder likes to engage. Her investigations are esoteric but allude to something universal. Trained in media studies, Arder uses art, with its essentially undisciplined relationship to knowledge, to explore the world she has been born into.
Born Chicago, IL, 1984/BA, Western
Illinois University, Macomb, IL/MFA, University of
Wisconsin-Madison/Lives in Detroit
Decisively and colorfully, Tyanna Buie contends that “getting out of the storm” of an overwrought psyche and easing into a calm demeanor is a crucial prerequisite for conceiving rich, reverberant art. She observes as well, “My art is much louder than I am,” metaphorically describing her inclination to work on a muralistic scale, of limning larger than life figures, and of rendering complex, multilayered images. In response to the troubled, sundered families (her own, and one senses, untold numbers of others) who are often her subjects, such tactics and an exploratory mindset beget deep-seated emotions, ranging from bittersweet to extremes of joy and anguish.
Born Ann Arbor, MI, 1978 / BFA, Eastern Michigan University / Lives in Ann Arbor, MI
John Maggie practices an exuberant form of syphilitic painting, a disease of imaging afflicted merrily upon the construct of painting itself; a good-humored sickness that attacks the root of pictorial convention. This is both painting and anti-painting. Maggie takes the banal trappings of tradition—the landscape, the still life, the nude, the maritime, the equestrian—and joyfully slings mud at them. In a work such as Frankly Feather (2019), there is an embrace of thrift store painting—found images that allow the artist to revel in failed attempts at image-making where notions of good and bad are jumbled. (A painting is good because it is bad.) Adam & Sue (2015) is both right and wrong: the proportions of the figures are off, the composition is imbalanced, foreground and background seem dislocated. Comedy results as the frolicsome beach couple are clumsily sexualized, with Sue’s breasts squeezing together above her distended belly and Adam’s erect penis glowing and pointing toward a branch. Within a single work, Maggie uses clashing approaches to representation, as Sue’s tightly rendered face is partnered with Adam’s ham-handed visage. In Night Rider (2018), he renders illusionism absurd and the oft-applied conception of conventional beauty as useless. Employing an abject Romanticism, he one-ups English horse portraitist George Stubbs (1724-1806) and pushes his regal subject into outrageous theatre with excessive baubles evocative of My Little Pony.