Born Bryn Mawr, Pa, 1980 / BFA, Rhode Island School of Design; MArch, Cranbrook Academy of Art / Lives in Hamtramck
Art, it’s been said, is often about taking something small, and making a really big deal out of it. For Jessica Frelinghuysen, that initial seed is the minutiae of social interaction – the tiny events that individually are of little consequence, but that collectively make up the fabric of any society. Continue reading
Born Raleigh, North Carolina, 1986 / BA Bennington College / Lives in Detroit MI
Hamilton Poe’s artist statement is a comprehensive neuropsychological evaluation in which he, the patient, a “27-year-old right handed male,” is characterized in modern scientific terms. It details everything from his previous diagnoses of attention deficit/hyperactivity disorder and dyslexia to his superior “non-verbal concept formation and reasoning skills.” Continue reading
Faina Lerman, born Riga, Latvia, 1975 / BFA, College for Creative Studies / Lives in Hamtramck, Michigan
Bridget Michael, born Detroit, 1977 / Certified Massage Therapist, Irene’s Myomassology Institute /Lives in Hamtramck, Michigan
Is it possible to be deadly seri- ous and exceptionally playful at the same time? The work of the two-woman performance art duo Tzarinas of the Plane demon- strates the compelling outcome of total commitment to impulse and fun. Their body of work is a tour de force in performance art, managing to eschew all hint of pretension with their joyful energy and inclusive, open-ended narratives. Viewing one of their performances, the audience is imbued with a feeling of wonderment in the truest sense: the potential of untold outcomes, the complete inability to predict what will happen next, and the realization that anything is truly possible when the Tzarinas are writing the rules.
Born Detroit, 1964 / BA, University of California at Los Angeles / MFA, University of Michigan / Lives in Ann Arbor, Michigan
To date, Melanie Manos has scrunched into the upper shelves of walk-in closets; inserted her body between exposed wall studs; inhabited the interiors of defunct, doorless refrigerators; squeezed into rolling metal utility cabinets; ducked into niches and crevasses of attics; walked the rafters; clambered up, over, and down interior walls; climbed the exteriors of multistoried buildings; and, most recently, shinnied into the upper reaches of gigundo, sequoia-sized tree trunks. A number of Manos’s intrepid feats have been achieved digitally or on video and, surprisingly perhaps, beget as potent a reflexive audience reaction—fear, unease, release—as her literal, physical performances. She is indeed the consummate interdisciplinary artist who works in performance, digital media, and installation, exhibiting not only nationally but internationally.
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