Born Detroit / BS, Central State University, Wilberforce, OH
Consider the art of Carole Morisseau as a bridge—as an expansive structure made of color, composition, and story that is intended to join differing generations, cultures, ethnicities, and classes.
Morisseau makes art, she says, as an expression of her soul, but accepts that approach to be non-paradigmatic. On a universal level, she sees the role of an artist as one of sharing: of ideas, a story, an aesthetic experience. Hence, the bridge analogy; one has to be willing to step on it and cross to the other side to see, to understand and to learn. As she puts it, “There is always something to learn, something to experience and, therefore, always something to express.”
Born 1951, Ann Arbor, MI / BA, Calvin College, Grand Rapids, MI; MFA, Wayne State University / Lives in Grosse Pointe Farms
What do an oscillating fan and a Josef Albers “square” have in common? Nothing. Nothing at all. They aren’t even in the same category of things. A fan is a fan, a practical object in the world. An Albers square, by contrast, is a study in color and shape. It’s an abstract work of art that has no obvious purpose.
So why did Timothy van Laar make a painting (Fan, 2009) that consists precisely of one fan and one Albers square? Van Laar, who is currently the Chair of Fine Arts at the College for Creative Studies was, for thirty-two years, a professor of art at the University of Illinois at Urbana-Champaign. He’s also published three books on art. Van Laar has been thinking about and making art for more than forty years. Surely, then, he put these two strange items together in one painting for some reason.
Born Detroit, 1945 / BFA, MFA, Wayne State University / Lives in Detroit
What is an artist’s practice but a universe unto itself? A total environment, with the artist at the center, in which a vast but finite set of ingredients—think experiences, materials, impulses, and predilections—cohere, by means both mysterious and prosaic, into related forms that evolve over time. It’s an apt metaphor for the work of Gary Eleinko, a lifelong Detroiter who came of age as a painter during the bricolage days of the Cass Corridor movement (where any cast off thing could become art) and who remarks with frank wonder that, “Everything in the world is made up of 98 natural elements. There’s nothing else. 98 ingredients make up everything we know.”
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 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 Ann Arbor, MI, 1949 / BA, Western Michigan University, Kalamazoo; MFA, Wayne State University, Detroit / Lives Grosse Pointe Farms, MI
Describing herself as the “compulsive collector that I am,” Jeanne Bieri is, verily, a hunter and gatherer of assorted, throwaway “stuff,” from which she occasionally assembles a one-of-a-kind grouping to render in oil. Other salvaged discards, chiefly textiles, accumulated by her and a cohort of friendly enablers, she restores, mends, sews, repurposes, “heals,” and “makes whole” again. An example of the former, Christmas Lights of 2007, is a veritable compendium of rescued artifacts arrayed, not on a laden table, but sprawled like a frieze almost five feet in width. Suspended, swaged, and push pinned to a wall, back dropped by a dun hued army blanket, the ribbons, bones and skull, Christmas lights, spool of thread, jump rope, and vintage photograph are immobilized by push pins as well as gravity.
Born Detroit, 1966 / BFA, College for Creative Studies / MFA, Yale School of Art, New Haven, CT / Lives Detroit
Richard Lewis’s stark, striking Self Portrait in White Shirt (2004) establishes at a glance the mode of bold, arresting portraiture he has practiced over the last decade and a half. Here, his own half-length, life-size visage dominates a shallow space wherein he reveals himself at a terse, decisive moment. Though a stretched canvas at right appears primed for action, he stands stock still, his flushed face charged with emotion. In particular, the emphatic swabs of thick red and white pigment slashing across his forehead augur a deep-seated determination. Another angsty portrayal of 2004 represents Anthony, a friend whose parted lips and wary glance imply concern and vulnerability in equal measure.
Painted about a year and a half after a six year sojourn in New York (1996-2002), these bare-knuckled portrait suggest Lewis’s affirmative resolve to re-engage with his art and natal environs. In fact, his 2002 reappearance was his second repatriation to his Detroit roots; earlier, after graduation from Yale in 1993, he had relocated to his hometown but stayed only a year and a half before decamping for his six year residency in Gotham.
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
Born Kaunas, Lithuania, 1968 / Diploma in Fine Art and Restoration, St. Zukas Technium of Applied Arts, Kaunus, Lithuania / Lives in Beverley Hills, MI
Lithuania, Renata Palubinskas confides, was the last place in Europe to embrace Christianity, maintaining its pantheistic pagan beliefs as late as the fourteenth century. A similar sense, of being out of sync with prevailing currents, and instead embracing the richness of the distant past, pervades Palubinskas’s own extensive body of paintings. She is an especially wholehearted artist, making full use of a rigorous Eastern European education in traditional painting and drawing techniques to take on big topics, such as mortality and the search for enlightenment, with great joy. Her quest is a spiritual one, drawing insights from all religions, but finding the most compelling answers in writings from the Hindu tradition. She talks of the beauty she finds in martial arts, and if pressed will admit to having a black belt in karate. Continue reading
Born Des Moines, IA, 1950 / BFA, Drake University, Des Moines, IA; MFA, Tyler School of Art, Philadelphia, PA / Lives in Royal Oak, MI
With their luscious surfaces, painstakingly lifelike textures, and subtly surreal depictions of almost-possible places, the oil paintings of Mel Rosas invite and reward both close attention and long-view contemplation. Rosas, an influential professor of painting at Wayne State University, is one of those painters who draws knowingly from the deep well of art history (Vermeer, Hopper, and Magritte are three signal antecedents), as well as an idiosyncratic assortment of wider cultural influences. The expansive body of work that has obsessed him for more than 30 years is also an object lesson in the use of art as a tool to explore, expand, and communicate the self. Rosas’s paintings are portals that offer the artist passage into his Latin American ancestry, and the viewer into a lush and evocative dream world.
Born Warren, MI, 1990/BFA, Wayne State University/Lives in Hamtramck, MI
Alex Buzzalini stands in the carpeted living room/art studio of his Hamtramck flat. The walls are covered with his paintings, some on paper, some on canvas. Shelves hold an array of his sculptural work: a pointy Red Cowboy Boot (2015) made of duct tape, a brick transformed into a fruitcake. With a can of Stroh’s in his hand, he explains that to get a really good look at anything, he has to back up into the other room. He keeps an old Herman Miller chair in the entry hall, an ashtray as well, and a book he’s been reading about the American West, all for the purpose of looking and contemplating. Continue reading
Born Detroit, 1976 / BA, Bennington College; MFA, Columbia University / Lives in Hamtramck
There is a chrysalis-like flux in the recent artworks of Jason Murphy. You feel it in the roughness of his constructions, as if we’ve interrupted a process, caught something between stages, or found artwork paused mid-construction. You find it in the vacillation of materials, a bit precarious and unstable, with histories and symbolism referencing building, but also breakdown, negligence, and accident. This is artwork precise and unstable, beautiful but a bit unsettling. Continue reading
Born Louisville, Kentucky, 1974/BFA, Rhode Island School of Design; MFA, Cranbrook/Lives in Detroit
Four years into an architectural program at RISD, Addie Langford found herself confronting a hard truth: she missed making things. All the theoretical design emphasis in her formal studies could not replace the importance of the hands-on process of creation that had always been a fundamental part of her practice.
Born Detroit, 1976 / BFA, Eastern Michigan University / MFA, New York Academy of Art, Graduate School of Figurative Art / Lives in Detroit
Visibility, accessibility, ambitious scale, and industrious zeal are some of the constituent hallmarks of Tylonn Sawyer’s activist art and life. Such attributes are readily apparent in his very public, very large, Detroit-centric Whole Foods Mural of 2013. Drawing upon Marshall Fredericks’ iconic Spirit of Detroit sculpture, Sawyer reinvents Fredericks’ hero as a young, African-American lad with empty palms (freed of Fredericks’ fusty totems of god and family) who, while awaiting new symbols to cross his palms, glances over a colorful, agricultural grid on the left, and a tidy, green, aerial urban view on the right. Continue reading
Born Detroit, 1970 / BA, University of Michigan / Lives in Clarkston, Michigan
Greg Fadell’s work and his persona can be seen as a series of deliberate choices. The work of some artists begins and ends within the frame, but for Fadell, wall, lighting, surfaces, and gallery are just as important as the pieces he brings to hang…and all that before his attention to the forces that shape the art world itself. Every aspect of Fadell’s practice is deeply considered, even those that might read as casual or irreverent vestiges of his early pro-skater career and personal aesthetic. His body of work draws in the viewer with its ostensible simplicity, but ask an informed question and be astonished by the volubility and the substance of his answer.
Born Canton, MS, 1948 / Studies in Mechanical Engineering and Art, Wayne State University / Lives in Detroit
Olayami Dabls’ sprawling outdoor installation at Grand River and West Grand Boulevard verges on a world where America rushes by, cocooned in tons of rusting metal – in other words it overlooks Interstate 96. Dabls knows that world. He trained as a mechanical engineer, and worked as a draftsman for Chevrolet Motors. Then in 1975 he had a serious car accident that hospitalized him for three years. During that time he turned to painting (his minor in college) as an escape from the constant physical and psychic pain. He left the hospital and never looked back, taking stints with the original African-American museum, and various theater companies, before eventually founding a gallery with his wife. Around 1998 he moved to the present location, starting the African Bead Museum that carries his name, and transitioning from an artist/gallerist to an educator/storyteller. Continue reading
Born Indianapolis, Indiana, 1970 / BFA, College for Creatives Studies / Lives in Detroit
The Oasis Motel, a meticulous 2008 depiction of a shuttered motor lodge arrayed beneath a sky bruised by an inky, foreboding blackness, marks Adam Lee Miller’s return to painting after a nearly decade-long hiatus. The intervening years were all but consumed by ADULT., the electro band that he and his wife Nicola Kuperus formed in the late ’90s that catapulted them to the forefront of a thriving, transatlantic underground music scene. Continue reading
Born Detroit 1951/BFA Wayne State University; MFA Syracuse University, NY/Lives Royal Oak, Michigan
Soundlessly, without stirring a ripple, a woman glides into view in Jo Powers’ Lake, the painter’s haunting self-portrait of 1993. Garbed in pink and borne on a watery expanse of azure, she drifts, Ophelia-like, calm, composed, and with eyes wide open, all-seeing. Continue reading
Born Oklahoma City, 1969 / BFA Center for Creative Studies, Detroit / Lives in Bloomfield Township, Michigan
Clinton Snider’s beautifully-realized paintings examine issues of social and environmental transformation in Southeast Michigan. Often his works talk to their interconnectedness. Continue reading
Born Detroit, 1947 / BFA, MFA Wayne State University, Detroit / Lives in Royal Oak, Michigan
Sandra Cardew’s strange figurative works emerge fully formed from a place that is both totally familiar yet completely unknowable. Continue reading