Harper Woods, MI, 1995 / BFA, College for Creative Studies; BFA Wayne
State University / Lives in Bloomfield Hills, MI
When something living dies, its chemical relationship to this world changes. Scientists use carbon dating, therefore, to assess the age of something that lived long ago, to peer into the distant past. William Charles Black uses carbon to similar ends, exploring its propensity to decay, but also its ability to preserve. This tension between ephemerality and permanence, preservation and destruction, is a thread that weaves through Black’s entire body of work, allowing him to link past to present.
Born Port Harcourt, Nigeria, 1984 / BFA Rhode Island School of Design; MFA Cranbrook Academy of Art / Lives in Detroit
“Home is where the heart is,” as the old chestnut goes. But where is home when your life has had a multi-continent trajectory? Ceramicist, sculptor, and designer Ebitenyefa “Ebi” Baralaye explores this question through his work in clay and other materials. He draws on the spirituality and culture of Nigeria (his country of birth) and the Caribbean (where he grew up for a time) to document and mediate his experiences in living in the Midwest and on both coasts of the United States.
Born Ypsilanti, MI,1990 / BFA Eastern Michigan University; MFA Cranbrook Academy of Art / Lives in Ypsilanti
To enter the photography of Ricky Weaver, first, take a breath. Hold it. Feel it. Float with it. Exhale.
This instruction steadies you for the type of meditation experienced when observing Weaver’s quiet but complex image-making. There’s a spiritual essence felt as the artist unpacks concepts of time, identity and lineage through photographs that pay homage to Black women who have come before, are with her today, and are of the next generation. Stylistically, her salute to them comes by way of the gold trim that frames each image (a tribute to her late grandmother’s black and gold-framed bedroom set) and quoted titles of her images, because, as the artist says of her work, “This is collective; it’s not just me.”
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).
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.
1982, BFA: Maryland Institute College of Art, MFA: Cranbrook Academy
of Art; Lives in Detroit, MI
A painting by Alison Wong typically represents the most ordinary things—a square of tissue and small scraps of crumbled wallpaper (Tissue Tears, 2018), or a dog’s mangled chew toy (Tattered and Torn, 2018). The painting technique is virtuosic, and the materials are the stuff of high art. She applies the paint thinly, layered, wet-into-wet; one delicate, detailed area at a time. The small scale of the works, objects depicted close to their actual size, deny any heroic, monumentalizing impulse. Why, one wonders, does she lavish so much effort on something so ordinary, so insignificant? But this questioning is right where she wants us.
Born New Haven, CT, 1977 / BA, University of Chicago / Ed. M, Harvard Graduate School of Education / MFA, Cranbrook Academy of Art / Lives in Detroit
Prints, performances, drawings and zines: Emmy Bright’s work emerges from an organic process of notational delirium. Post-It notes fan out and curl, bridged by scribbled lines, insistent arrows, underlining, highlighting, and circled text fragments—thoughts redacted and reclaimed. The smell of a Sharpie lingers. A palimpsest of equations forms. Pages are taped together to expand space for addenda. Much of Bright’s imagery begins as something she terms “stupids”—diagrammatic jottings that employ slapdash methodology to disrupt normative thinking and jumpstart philosophical inquiry. For her, profundity can reside beneath that which we dismiss as idiocy. When examined, a moment of stupidity may reveal latent, meaningful instincts. With humorous schemata that collide the rational and the irrational, Bright fleshes out the absurdity of the behavioral structures we rely upon to govern our relationships with ourselves and one another.
Born Gottingen, Germany, 1965 / Graduate degree from Gerrit Rietveld Academie, Amsterdam/ Lives in Bloomfield Hills, Michigan
Both comical and strangely melancholic, two small wooden house shapes attached to a wall are topped, incongruously, by sand bags with patches of wooly embroidery. They make an odd couple, like Oscar and Felix: alike yet unalike, dissonant and consonant, together yet separate. At once amusing and serious, they convey a searching spirit that permeates Iris Eichenberg’s work, which often meditates on making home and finding our place in the world. Related in some way to the body, her constructions produce sensorial and emotional effects that stretch conventional boundaries to explore structures of feeling.
Born 1987, Baltimore, Maryland/ BA, Lincoln University, PA; MFA Cranbrook Academy of Art/ Lives in Detroit
Entering the former industrial space of 333 Midland’s Annex Gallery, visitors can make out a magenta and turquoise-lighted dance floor peeking from behind a partition of silvery mylar streamers. Within, participants dance together to techno and ghettotech beneath door frames reminiscent of street stoops, and are encouraged to use the video cameras that interdisciplinary artist William Marcellus Armstrong—inspired by Latin America’s democratic, revolutionary, moviemaking movement known as Third Cinema—has provided. Prizes are awarded to the best dancers, all of whom are children. This live-taped event and performance-cum-social practice video is The 48203 Dance Show (2018). Continue reading
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 Detroit, 1951 / BFA, Rochester Institute of Technology, New York; MFA, Cranbrook Academy of Art / Lives in in Huntington Woods, Michigan
For me the formation of the thought is already sculpture. (Joseph Beuys, 1969)
In 1978, a small portfolio of nine Barry Roth photos was published in the periodical Lightworks, #10. These tabletop images (including Day Sleep, 1975) were staged from Roth’s Palmer Park Detroit studio/apartment in the mid-1970s. Their intimate scale and dark theatricality worked discreetly with post-modern tropes such as self-identity, deconstructed narratives, pop-culture and historical references—and made them more disorienting and idiosyncratic. They presented interior landscapes that were new and radical.
Roth’s artistry was an unacknowledged rupture in traditional photography that challenged norms of tableaux representation. While studying for an MFA, Roth discovered his unique analytic style. “I liked street photography,” said Roth, “but wanted something I could do anytime. “I was attracted to photographers like Les Krims – who staged things, setting things up for the camera.” Roth centers his photography as the thing itself; photographing to see how something looked as a photograph, aligning his ideas with street photographer Gary Winogrand, who explained, “The photo is a thing in itself. And that’s what still photography is all about.” Photography as a “truth-telling” medium was rejected by Roth, who describes his process as image-making rather than image-taking.
Born New York, NY, 1985 / BA, Carleton College / MFA, Cranbrook Academy of Art, Bloomfield Hills, MI / Lives in Detroit
Sophie Eisner is not from Detroit, and does not put on airs about it. As a young artist who moved to the area in 2013 and to the Motor City in 2015, she thinks it’s important to do a lot of listening. Eisner travels extensively, having just recently returned, for instance, from Mongolia. Wherever she goes and whatever she makes there, she brings elements from her childhood home in New York City with her. One of the notable qualities of Eisner’s practice is her ability to take a familiar object in a familiar place, such as the pink tiles in the bathroom of her studio, and use materials, such as pigmented silicone, to think about the object from a different perspective. By presenting this same object with different materials and shape, Eisner invites the viewer to recall that they have seen this object somewhere before, and to wonder where. Eisner’s work gives viewers a fuzzy feeling of familiarity.
Born Royal Oak, MI, 1980 / BFA, College for Creative Studies, Detroit, MI; MFA, Cranbrook Academy of Art, Bloomfield Hills, MI / Lives in Bloomfield Hills, MI
Unpacking the practice of ceramist Laith Karmo is perhaps best expedited by focusing on the polar goals of his aesthetic evolution over the last decade and a half. First up are the brash, jazzy, chromatically shiny abstract sculptures presented in his first solo show in 2008, and then, post-2009, the gradual embrace over the next several years of the proverbial, evergreen forms (pots, bowls, ewers) and muted tonalities of his “objects of utility and contemplation.”
Born Detroit, 1981/BA, Lawrence University, Appleton, Wisconsin/MFA, Cranbrook Academy of Art, Bloomfield Hills, Michigan/Lives in Hamtramck, Michigan
Lauren Semivan’s enigmatic, tour de force black and white photographs—no color, no digital—are shot with an early 20th century, large-format, tripod-mounted camera. The realization of her mystifying tableaus entails sheets of film, reams of negatives, and even the use of a home darkroom. Semivan’s retardataire, hands-on practice is akin to other recent throwbacks that captivate millennials and boomers alike, including old fashioned acoustic instruments, vinyl, and flip phones.
Semivan’s images are, however, quintessentially contemporary inventions. Despite the cumbersome, antique equipment, her interdisciplinary mosaics of abstraction, process and performative procedures, staged (or set-up) scenes, and her pictorial perception of the oft thrumming tensions between conscious and subconscious states of mind, yield psychodramas at once rational and irrational. Her artist statements, albeit tinged with surrealist overtones, reiterate the unease aroused by her photographs: “The images often contain something of the everyday to ground them, juxtaposed with something extraordinary or out of the world to set them free from the realm of the everyday. I use my own body within the work to anchor the images within a place of dreams and personal emotions.” Decidedly not the lingo of a straight or “decisive moment” photographer. Her teachers at Wisconsin’s Lawrence University, Julie Lindemann and John Shimon, plus critic Lyle Rexer (The Edge of Vision: The Rise of Abstraction in Photography, 2009), were particularly influential on the evolution of Semivan’s sensibility.
Born Philadelphia, PA, 1943 / BFA, College for Creative Studies; MFA, Cranbrook Academy of Art / Lives in Royal Oak, MI
Striding smack into the dusty but revered genre of land and sea photography a few decades ago, Carla Anderson began her determined, protracted pursuit to record wondrous sites “seen with fresh eyes.” Undaunted by the preponderance of land- and seascape vistas produced by nineteenth century masters like William Henry Jackson, Gustave Le Gray, and Timothy O’Sullivan, she vowed to chronicle over-familiar scenes “in a way that made them unfamiliar.” Thus began Anderson’s quest to evolve a vision uniquely her own, little realizing at the time that the distinctive aesthetic she sought would not materialize until 2006.
Born Brooklyn, New York, 1947 / BS, Wayne State University; MFA, Cranbrook Academy of Art/ Lives in Pleasant Ridge, MI
In all its darkness, playfulness, mystery and grotesquerie, the work of Susan Aaron-Taylor embodies a search for wholeness through the embrace of contradictions and dichotomies. Over the last five decades, she has explored dualities through bodies of work that mine the realms of dreams and alchemy, sources that also served the fifteenth-century artist Hieronymus Bosch in his famous Garden of Earthly Delights. Both draw on these and other symbolic systems to produce a spiritual cosmogony both terrifying and compelling, imaginative and surreal. But unlike Bosch’s painted allegory of humanity’s fall from grace, Aaron-Taylor’s mixed media sculptures, constructed of materials such as handmade felt, wood, shells, stones, bones, and beads, are more a search for grace. That search dives into the self and its myriad incongruities, a self which does not so much learn to travel from dark to light on its lifelong journey as to incorporate both in the cycle of existence.
Born Detroit, 1982 / BS, Eastern Michigan University; MFA, Cranbrook Academy of Art / Lives in Detroit
Tiff Massey is an artist whose explanations for her work often defy your overeducated readings. The recurring motifs of head-wearables and hair, for example, are not something the artist relates to Carrie Mae Weems, but rather Massey’s wide-ranging experiences of Detroit. After a few of these negated readings, you learn to keep inferences to yourself, rather than risk being corrected.
Massey wears many of her own pieces. Her Cranbrook Academy training as a metalsmith includes the craft of a fine jeweler. While out at Detroit galleries and in her signature videos for her 2015 Kresge Arts in Detroit fellowship and the Society of North American Goldsmiths, Massey can be seen wearing a large brass ring on her right hand. The ring looks a bit like an architectural model of a skyscraper. The Joe Louis fist and the Renaissance Center skyline—two metonyms for the city of Detroit—now dialogue with each other in my mind
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 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.”
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, and the artist-run, neighborhood-based nonprofit Power House Productions. 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