Born Paramaribo, Suriname, 1975 / BFA, Cooper Union, NYC; MFA, University of Michigan / Lives in Detroit
In her recent practice, Detroit artist Yvette Rock presents a series of self-imposed challenges while vigorously engaging with ideas about media and methodology to tell her visual stories. Her processes seem open to these questions: How does one construct a body of work? Where does it begin? Is it a series of investigations or a more concrete endeavor? Is it a thematic undertaking or an accumulation of disparate art making over time? Rock’s approach encompasses all possibilities. Newly created and found materials have made their way onto her studio work table alongside oil, acrylic, gouache, watercolor, charcoal, graphite, Conté crayon, turpentine, damar varnish, linseed oil, printmaking tools and inks, pastels, gesso, medium, and on and on. Over time Rock has sown a rich inventory of resources from which to venture.
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 Detroit, 1982 / BA, Howard University; MA, University of Chicago / Lives in Detroit
Art, ever sociable, is always in conversation with something else. One of artist Maya Stovall’s primary interlocutors is the City—that ever-shifting concatenation of street, sidewalk, and neighborhood; of people, power, and capital. (This conversation started early; Stovall recalls riding her bike to the Detroit Institute of Arts as a child and developing an “obsession” with the street life she encountered along the way.) For the last four years, she has pursued a related obsession, enacting and documenting an ongoing series of sidewalk performances and ethnographic interviews made near the liquor stores that dot her eastside neighborhood, McDougall-Hunt. Stovall, who trained in classical ballet, holds a Master’s degree in Economics, and is currently pursuing a PhD in both Performance Studies and Cultural Anthropology. She approaches the sprawling yet tightly focused Liquor Store Theatre project as a means to ask what she calls “monumental questions” about human existence via “close, rigorous, devoted, durational looking.”
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.
Born Rhinelander, WI, 1979/ BFA (Music), California Institute of the Arts / Lives in Detroit
The artist Billy Mark intentionally messes with your head. He moves, he morphs, he mystifies. Watch him for even a moment, and it’s soon clear that he embodies this trio of M’s and more—sometimes all at once.
In fact, Mark means to make you believe that the whole “artist” moniker—improvisational freestyle poet and installation artist, to be exact—is too confining for him or his multidimensional work, which spans and connects conceptual theater, performance, sculpture, poetry, music, movement, even silence. Label him, if you must, but no longer will he narrow himself.
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, 1979 / BFA, College for Creative Studies / Lives in Detroit
“I’m not a street artist, but I can paint on anything,” asserts Sydney James, prolific muralist, painter, and illustrator. After graduating from College for Creative Studies in 2001, she forged ahead as designer, art director, and “ghost artist” (for television dramas), at first in Detroit and subsequently in Los Angeles. Reviewing the evolution of her practice up to that point, she recalls, “I was an illustrator, [but] when I took control of the stories, I became a fine artist.” This epiphany coincided with her timely move back to Detroit in late 2011, where she encountered a burgeoning art community and street art stirrings, fueled in part by the Grand River Creative Corridor and Murals in the Market initiatives.
Born Detroit, 1959 / BFA, Washington University, St. Louis, MO; MA, The University of Iowa, Iowa City, IA; MFA, The University of Michigan School of Art and Design (now Penny W. Stamps School of Art & Design) / Lives in Bloomfield Hills, MI
Conceptual photographer Cynthia Greig admits to being uninterested in the mechanics of photography; rather, she is fascinated by the facts and fictions of the photographic image. She came to photography through studying art history and filmmaking after an undergraduate degree in printmaking, and is a collector and published historian of nineteenth-century photography. Manipulated photographs, such as enhanced scenes of the Civil War and trick portraits of circus performers, hold a particular fascination. Inspired, in part, by these rudimentary red herrings, her own work as a photographer and video artist has centered on photography’s ability to manipulate what we think we see. With sly wit underscoring elegant images, she explores the area between idea and belief, between the physical and the imaginary, between perception and reality.
Born Detroit, 1983 / BA (Film & Video), University of Michigan / Lives in Detroit
Between 2013 and 2014 in Detroit, the four high rise towers that were the last remnants of the Brewster-Douglass housing projects, the country’s first federally-funded public housing for African-Americans, were demolished. While the towers had been officially cleared of residents in 2008, they were, in fact, still home to a handful of people up to the time of their demolition, as Oren Goldenberg’s 2012 cinéma vérité short Brewster Douglass, You’re My Brother reveals. The video opens with a two-minute montage depicting the derelict complex from a series of neighboring perspectives—evoking its omnipresence, both physical and psychic, in the Detroit landscape—set to the sound of a gospel crooner’s insistent refrain that, “Time don’t wait for no one.” Then the focus shifts to Darlene, a long-term resident who says, as she reflects candidly on her hard life, that she survives by scrapping, and that she hasn’t seen her large family in years. At the end of the video, with the towers’ demolition imminent, Darlene is seen leaving, her empty hands in her pockets. She’s crossing the I-375 overpass, going—where? She doesn’t say. Does she know?