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.
Eau Claire, WI, 1985 / BFA, Milwaukee Institute of Art and Design, WI
/ Lives in Warren, MI
In 1972 the artist Alan Sekula walked towards workers leaving a secretive aerospace plant in San Diego, photographing as he went, until his actions were stopped by company officials. With this seminal act, Sekula signaled that the military-industrial complex, which existed on the frontiers of his daily life, could still be within the horizon of his artistic inquiry. Some forty years later, the artist Bridget Quinn follows in Sekula’s footsteps. Quinn, however, is not a child of the Cold War, but of a time of accelerating environmental collapse, and her concerns are not directly with the machinations of industry, but with the natural world. More specifically, Quinn is interested in what can be learned from “marginal nature,” that semi-wild world that is hidden in plain sight throughout the developed landscape. And that requires trespassing. As she says of her experience exploring Red Run, a small waterway in her newly adopted hometown of Warren, MI: “I saw an alarming number of “No Trespassing” signs, reminding me that I was not welcome, and that all land is owned. I have never seen a city so concerned with people stepping off of the sidewalk.”
Born 1989, Royal Oak, MI / BFA, The Cooper Union, New York, NY / Lives in Detroit
In his 2017 bestseller Fantasyland, Kurt Andersen makes the convincing case that an essential aspect of the American character is a brazen disregard for the line between reality and fantasy. This is a congenital condition, he argues, that dates back to the nation’s founding.
Andersen’s thesis provides a useful lens through which to view the work of Bailey Scieszka, a multimedia artist and writer with a voracious appetite for history, on one hand, and popular fantasies like conspiracy theory, live action role playing, and end times prophecy, on the other. But for Scieszka, it is not just our eager and longstanding embrace of the irrational that makes Americans Americans; it is also the will to violence that is so dangerously entangled with our mania for make-believe.
Scieszka’s work has a great deal to do with violence. It’s “the only way to tell a true story,” according to her unbridled alter-ego Old Put—a murderous, shapeshifting, basket-weaving demon clown and pro wrestler who is the star of her elaborately-conceived plays, performances, and videos, and who features prominently in her prodigious drawings. Indeed, Scieszka’s astonishing output to date can be understood as an extravagant explosion of American violence, fantasy, and myth—a deranged, bedazzled, go-for-broke freak show that is informed by history, interpolated by trash and post-internet pop culture, and framed by anxiety about the horrors of contemporary life. Her work is a funhouse mirror reflection of the world today, hilarious at one turn and terrifying the next.
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 1970, Rochester MI / BA, Wayne State University / Lives in Hamtramck, MI
Chris Riddell uses dead rats as stencils. He makes sculptures that are also weapons, uses rotting ham and head cheese, the aural de/crescendoing of a squeaking wooden armchair, and the scent of lavender as material. He arranges sardines on auto grease and laundry detergent, constructs installations of armless, timeworn statuettes and found, fire-burned family photographs, tangles deflated sex dolls in plastic waste, and sets the mummified dead rat he stenciled with on a 2×4. All of it, everything you got, anything that’s around. His studio is all places and directions, centrifugal and multiplicitous. Smells and phonic material are there too, stinking and dripping and putrescent.
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 Royal Oak, MI, 1984 / BA, Naropa University; MFA, International Center of Photography – Bard College / Lives in Detroit and New York
Self-described “media activist” Kate Levy uses her extensive place-based research to explore issues of social justice through video, photography, and artist books. A central concern of Levy’s practice is who does or does not have access to means of representation. Highly conscious of her privileged social, economic, and educational background, she is determined to create working relationships that transcend this – even when it means giving up elements of creative control. For example, the 51 minute film I Do Mind Dying (2017) – covering water affordability and shutoff issues in Detroit from 2014 to 2017 – was developed in collaboration with numerous grassroots and advocacy groups. During the work’s production, Levy distributed cameras to people who lived in neighborhoods with high levels of shutoffs, and the subsequent material was merged with Levy’s own footage in a collective editorial process. The result is an urgent, and multi-layered, work that combines on the ground reporting with revelatory research to create a damning indictment of the web of injustice that envelops many Detroit citizens – recounted in the words of people in the thick of the action. Continue reading
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 Detroit, 1982 / BA, Howard University; MA, University of Chicago; Phd, Wayne State University / 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 a PhD in 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 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, the four high rise towers that were the last remnants of Detroit’s 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?
Born Dearborn, MI, 1969 / BFA, College for Creative Studies; MA (Media Studies), New School University, New York / Lives in Detroit
Scott Northrup’s recent temporary installation Hämeenkyrö, Mon Amour (2015) was comprised of text projected onto the landscape near the town of Hämeenkyrö, Finland, at sundown. For about thirty minutes, excerpts of scripted dialogue from Alain Resnais’s Hiroshima, Mon Amour and several movies by Finnish filmmaker Aki Kaurismaki, as well as Northrup’s own writing, crawled across the vast, darkening plain in what the artist refers to as a “love letter” to the beautiful, welcoming place he’d come to know after a month-long residency there. Continue reading
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.