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.
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 Detroit, 1949 / BFA, School of the Detroit Society of Arts and Crafts; MA, Wayne State University / Died Ferndale, MI 2018
Robert Bielat was an artist’s artist, a sobriquet applied to those whose work is brilliant but idiosyncratic, deeply compelling in a way that is obvious to those who can see it, but not necessarily so to the market or to the arbiters of so-called “good” taste.
Born Royal Oak, MI, 1972 / BFA, University of Michigan; MFA, Otis College of Art and Design, Los Angeles, CA / Lives in Southfield, MI
You could be forgiven for mistaking Patrick Hill for a minimalist. After all, a cursory glance at his sculptures will tell you that he is a native speaker of that iconically laconic language. Geometric forms in clean configurations? Check. An aesthetic of carefully considered refusal and reduction? Certainly. An exquisite sensitivity to space, balance, and the materiality of matter? That’s him, all right.
But in its reductive simplicity, minimalism ultimately leads to a conceptual dead-end. “What you see is what you get” only gets you so far in a time when art aspires to boundlessness. Taking cues from feminist artists, Hill circumvents this impasse by using minimal forms to go deep inside, to explore the body and aspects of subjective experience like identity, sexuality, frailty, and failure. (In his words: “It’s Richard Serra, only less ‘dude’.”) He finds source material not just in material itself, but in his personal experience and the wider worlds of fashion, pop culture, art history, and Eastern aesthetics and spirituality—a sprawling mixture that accretes, in his hands, into fragile monuments to interiority and human imperfection.
Born Wyandotte, MI, 1952 / Studies at the College for Creative Studies / Lives in Detroit, MI
Art, for Vito Valdez, is about expressing something real – an idea, an emotion, an experience, or, even better, all of the above. Valdez’s visceral 1999 paintings Columbine and Kosovo, for example, combine dynamic brush strokes, intense colors, and fragmented references to the perpetrators and victims of violence to convey a sense of deep anger at the senseless massacres that occurred in these places. It is impossible to deconstruct the exact experiences that underlie these paintings, but perhaps they include the time Valdez spent working as a surgery technician while a conscientious objector during the Vietnam War, or his childhood growing up in a tough environment where masculinity and violence were often interchangeable.
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 Clemson, South Carolina, 1924 / Lives in Detroit
“The creative mind continues always to test the parameters of conventional knowledge, forever in pursuit of new vistas. Trying to understand life, death, the totality of existence, and the logic or order that governs our moral being is the forum from which all of my creative offerings extract meaning,” Charles McGee wrote in 1994. It is safe to say that he has lived this thought, since almost 25 years later, he is still pushing his limits as an artist. In so doing, he has changed the face of Detroit, the city he has lived in since childhood and where he has embraced intersecting careers as artist, curator, gallerist, teacher, author, and outspoken critic and champion of art in the city.
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 Detroit, MI, 1955 / DFA (ad honorem), College for Creative Studies / Lives in Detroit
It’s all about YOU.
In his book Free Schools, Free Minds, Ron Miller describes two ways to imagine the relationship between radical education and social change: the first (exemplified by A.S. Neill) says that if you liberate the mind of the individual they will go on to change society, and the second (exemplified by Paulo Freire) says that you change individuals by working collectively on projects to change society. But in Tyree Guyton’s Heidelberg Project, it’s all about YOU – first discover who you really are, and then go on to change the world.
Born Westland, 1990 / BFA, College for Creative Studies / Lives in Detroit
It’s easy, and forgivable, to mistake mixed media sculptor Chloe Songalewski’s work as that of an architect. But in the series of sculptures that have become her signature —miniature geometric houses and cabins made of converging pieces of salvaged wood and other found materials — Songalewski is investigating something more personal. In fact, she knows next to nothing about architecture, which is partly why she smiles when people insist it as a source of her work. And most of what she knows about sculpting she’s taught herself, as a method of using her art, and art training, for something greater than commercial gain. Each piece she makes these days is an attempt to examine the meaning of home, whether it’s an actual space, a feeling, or a combination of structure and sentimental associations. “I’m finally creating art I want to make; art I need to make,’’ she explains. As a child, Songalewski moved around with her family so much, she never felt rooted. Art was then, she says, the only retreat she could find from the alcoholism that stole both her relationship with her father and ultimately her sense of home.