Born Toledo, OH, 1969 / BFA, The Ohio State University; MFA, Ohio University / Lives in Ferndale, MI
Adrian Hatfield begins a painting with the most paradigmatic of painters’ actions—a gestural flooding of the surface with paint, a fast fluid marking and puddling of the space, abstract, colorful, atmospheric, lyrical. But the next steps in the process are much slower, more thoughtful and measured. In executing his most recent paintings, Hatfield makes a digital image of his abstract beginning before inserting and arranging various collected graphic imagery, planning the painting digitally. Eventually, graphic images are screened onto the actual painting surface, and fragments of various canonical artworks are painted into the piece. Each painting is a startling mix of quoted images, torn from some other context and pushed together into something new: a mash-up of high and low culture, scientific and religious signs, and an anxiety-laden blend of the sublime, uncanny and abject.
Born 1976, Detroit / Lives in Macomb Regional Correctional Facility, New Haven, Michigan
The sun is out, the sky is blue, and people are committing suicide on a rainbow. Some hang by their necks from the fuschia inner arc while others jump or lay dead in the grass as a squirrel watches (Rainbow Drawing, 2014). The scale of the dead in relation to the rainbow is deliberate. “This is life,” writes James Dean Fuson, “A lot of times things seem to be fine but if you look closely, things are not fine.”
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 Detroit, MI, 1959 / Studied College for Creative Studies, Wayne County Community College, Detroit / Lives in Detroit
“I am still an Impressionist after thirty-five years,” boasts painter Bryant Tillman. Born years after the death of the French artists linked with this storied model of modern art, Tillman’s rootedness in the style is as much a surprise to him as to his viewers. His original quest was to wend his way through all the isms of the modernist era—from Impressionism to Abstract Expressionism–in order to become a skilled maker. But, as it turned out, he became besotted with Impressionism and continues to practice his scales, as it were, in this mode. “I learn more and more each time I pick up a trusty filbert and attempt to finesse a photo-expressionistic slurry, approximating a blurred Polaroid, shot by a jiggling hand.”
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.
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 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 Detroit, MI, 1952/Art studies at Wayne State University, Detroit/Lives in Hazel Park, MI
James Puntigam’s artwork has come a long way since 1986, when he quit his job at the Michigan Department of Social Services, obtained a city vendor’s license, and began making money drawing caricatures in downtown Detroit during events at Hart Plaza and the Eastern Market. Though he might still do the occasional caricature, his main work now is in making linocut prints. His extensive experience over the years has included drawing with graphite on paper, and painting with acrylics on canvas, sheetrock, board, and other surfaces. Continue reading
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.