Ypsi Alloy

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Meagan Shein, Jessica Tenbusch and Elize Jekabson in their fine art maker space

I recently wrote an article for Ann Arbor’s Current Magazine about Ypsi Alloy, a creative  collective that features work by 17 of the area’s most talented professional artists.  You can read about them here

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Sand Lounger by Elize Jekabson
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You Can’t Touch A Ghost: Five Senses For A Cause

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Zelma, Orpha, and Golda Series: Rules for Women, by Leslie Sheryll, 2018,archival digital print, 38″ x 16.5″

Detroit’s contemporary art ecosystem seems to attract energetic, hardworking creatives who aren’t afraid to take on big multi-year projects that aim to fundamentally alter  Detroit’s cultural environment. Things Feel Heavy, the independent curatorial project of accomplished painter and creative entrepreneur Anna van Schaap,  is one of those ambitious and public-spirited efforts. This series of  exhibitions and events has taken place over the last decade or so, throughout the city and beyond,  in venues such as the Carr Center, the Charles H. Wright Museum and the Ann Arbor Art Center.

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Anna van Schaap at Gallery 2987

Van Schaap’s latest effort, You Can’t Touch A Ghost: Five Senses for a Cause, is a party, an art auction, a fashion show and a live musical performance that starts at 6 p.m. on Saturday, January 19, in downtown Detroit’s Gallery 2987.  It will benefit Alternatives for Girls, a highly respected and successful Detroit non-profit that provides programs and services for homeless and at-risk girls and young women. It’s a cause that is close to the artist’s heart.

She comes by her interest in women’s rights by way of her art and her life experience. “I’m heavily influenced by the Dutch masters in terms of the palette and by some of the Italian masters like Caravaggio, but in terms of conceptual influence, my work is a modernist take on women’s issues,” she explains. “A lot of my work revolves around …being silenced or eradicated–how women’s identities are tied intrinsically to their bodies, and also about language, about speaking these truths…because  we’re not allowed to vocalize our needs,  our wants, our desires outright or efficiently, we find subversive ways to communicate through body language or gestures.”

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Never Kneel by Anna van Schaap, oil on linen, 44″ x 30″

As she investigated Detroit non-profits for You Can’t Touch A Ghost to benefit, van Schaap was immediately attracted to Alternatives for Girls because it spoke directly to her concern for female empowerment.  Through extensive programs in Detroit’s public schools and shelters, Alternatives for Girls provides street outreach, educational support, vocational guidance, mentoring, prevention activities and counseling to help girls and young women make positive choices. She chose the organization “not only because they provide assistance and shelter and food and programming, but they also have a preventative element, which I think is such an important part of rearing young women, getting to them early,  before problems start. They work with girls predominantly in the younger ages, 9 or 10, all the way up to teenage mothers. This is a large program and they’ve been around for quite a while now, and their reach is pretty far at this point.”

For You Can’t Touch A Ghost, van Schaap has organized a curated exhibition and auction that features some of Detroit’s best artists, as well as music by True Blue and Electric Blanket. The $15 cover provides entrance to the exhibit and performance, as well as an open bar and hors d’oeuvres and desserts by Forte Belanger and Celebrity Catering. For more information about You Can’t Touch A Ghost or to RSVP go here. 

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Bury Me Softly (It’s lovely in the fall) by Jennifer Belair Sakarian
Participating artists: Callie Nazzpuller, Dominique Chastenet de Géryöïö, Brian Spolans, Marianetta Porter, Leslie SherylKate Hanley, K.A. Letts Erin Case, Ingrid Tietz,  Renee RialsLeanna Hicks, Jennifer Belair(Jennifer Belair Sakarian),  Catheryn Amidei, Jessica Tenbusch,  Sharon QueSarah Swarz(Sarah C. Blanchette), Michael Ross(Mike Ross), Nicki SzydloParisa Ghaderi/Ebrahim Soltani, Donna ShipmanMichael E. O’Reilly, Jill Eggers, Tali Morgolin, Jeffrey BowmanCaryn Bopp Kelly Burke, Adrian Deva, Molly Diana, Marceline MasonMeagan SheinAlison FrancoMelis AgabigumKidané A’der Jhons, Paula Marie Deubel PMari. Anna van Schaap has also created a piece specifically for the event.

 

Chicago’s New Art Examiner Covers Detroit

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Murals in the Market  painting by W.C. Bevan, sponsored by 1XRun

I recently wrote an article about the Detroit art scene for Chicago’s New Art Examiner,  focusing on three organizations/projects that seemed to me to exemplify important features of Detroit and its artists right now. 1XRun, Playground Detroit and the North End neighborhood’s American Riad project demonstrate the  entrepreneurial creativity, DIY energy, and artistic/social inclusiveness that I see in the city.  I’m sorry I couldn’t write about more of the Detroit’s great galleries and projects, but that would take a book, not a magazine article.  To read what I wrote, go here 

 

 

 

Ann Arbor Current Magazine reviews The Strangeness of Everyday

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Usually RustbeltArts.com represents my humble effort to get the word out that art–good art–is being made and shown in the Great Lakes region. There’s never a shortage of interesting fine art news to write about.

When I’m not writing, though, I’m painting and drawing and showing my own work. My solo show The Strangeness of Everyday is on view until December 21st during regular business hours in the University of Michigan’s Connections Gallery.  Arts writer Ainsley Davis has reported on the exhibit for Current Magazine and you can read her very perceptive review here

My thanks to Current Magazine for paying attention!

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SculptureX 2018: Igniting Change

Loraine Lynn here gives a useful description of the main themes of Toledo’s Sculpture X, with its emphasis on art as social practice. I’m dubious about the efficacy of this way of making art, and didn’t see anything in my (admittedly) limited experience of the work on view to change my mind. That said, I appreciate Lynn’s description of the proceedings and her earnest effort to grapple with the inherent internal contradictions and tricky social crosswinds of art as social practice.

Loraine Lynn

39686718_1062148427287864_2951454178091728896_o.pngAll art is Social Practice rang out as some of the last words of this year’s symposium, spoken by Saul Ostrow, curator and co-founder of SculptureX.

The event’s ninth year iteration, titled Igniting Change, took place over two days at the Toledo Museum of Art and Bowling Green State University. The focus was on the concept of Social Practice, a way of working in art that often gets traced back to the 1990’s. During his talk, Ostrow pointed out that the emergence of Social Practice began as early as 1913 with the Russian Constructivists (with the rejection of autonomous art) and can be seen later in the 1930’s with Social Realism (in work by artists such as Diego Riveria and Dorothea Lange).

Despite discrepancies regarding its origins, Social Practice is rising in popularity, both in art and academia. Taking this into account the question of whether or not artists…

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Kegham Tazian, A Journey Through Art

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Detroit artist Kegham Tazian in his studio, September 2018

Sculptures spill out over the lawn of Kegham Tazian’s neat suburban home as if the restless creative impulse inside can’t be contained.  Tazian, a trim and cordial man with salt-and-pepper hair, meets me at the door, and ushers me into an interior where hundreds of sculptures and paintings are neatly displayed, evidence of nearly 60 years well spent as a prolific and productive artist in Detroit.  Like architects Eliel Saarinan and Albert Kahn and sculptor Corrado Parducci, he is an immigrant creative who has found a home in the city, nurtured by its energy and sheltered by its community.

Tazian’s story begins in Turkey, where his family was part of a persecuted Armenian minority.  His mother, displaced during the troubled times of World War I that culminated in the Armenian genocide, was taken to Beirut, Lebanon as a child to study in a Catholic convent.  During a lull in the unrest, her family moved her back to Turkey, but after her marriage and the birth of her 5 children – of which Kegham was the youngest at 1 year old–the entire family relocated to Lebanon with the support of the French government. Tazian’s father died when he was 4, and his mother carried on raising the family alone. Their first years in Lebanon were difficult.  “My mom is my hero,“ Tazian says. “She couldn’t read or write, but she spoke 4 languages… She never asked for any help.” Tazian recalls, “[when] I was 7 years old, along with my 3 brothers and my mom, we would walk some 8-10 miles one way to pick potatoes and onions.”

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Metamorphosis, 2009, steel and fiberglass,  60″ x 84″ x 24, Farmington Hills City Hall

Tazian developed an early ambition to become an artist, even though he had very little exposure to the arts. “My background was completely zero in art. There were no classes in elementary school or high school. I went to two different high schools, and none of them had art, but in my mind I always planned to be an artist.”

“The only person [who encouraged me] was my 5th grade English teacher, Olivia Balian,” he says. “She really opened the doors of art for me.  She said, ‘Those students who are interested in art can stay behind after school and I will show you how to paint and draw.’ Somehow [that] changed my life– she gave me that spark.”

When one of Tazian’s older brothers started a successful button-making business, giving the family some stability and making study abroad financially feasible, Tazian came to the U.S. to study at St. Francis College in Fort Wayne, Indiana. Tazian humorously recalls his lack of preparation: “When I came there … to an art school, I had no idea what an art school [was]!”  Somehow, in spite of this, he earned a bachelors degrees in art and a masters in art education, and then managed to get admitted to Wayne State University in Detroit, where he went on to receive an MFA in sculpture in 1966. For the next 47 years, he taught art at Oakland Community College’s Orchard Ridge Campus in Farmington Hills, while maintaining an active studio practice, showing his work regularly in galleries around the country and fulfilling numerous commissions for public art in the Detroit area.

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Mechanical Juggler, 2018, acrylic on canvas, 36″ x 48″

Kegham Tazian is a kind of magpie artist, always on the sharp-eyed lookout for materials that spark his creative impulse. Ruined styrofoam from a job site, a cow bone, a battered oil pan, a discarded circuit board – all of these apparently un-prepossessing materials have found their way into his work.   He collects and combines objects he finds in the environment and enters into a dialog with them to create a finished painting or sculpture.  “I’m open minded …If I see something in nature, then that becomes part of my art work… More than anything else I’m curious about how I can express myself, in what medium.”  He continues, “I never know from one day to the next what I’ll do. It all happens in that moment. One of the luxuries I’ve had is teaching – a steady income – so I never [had to] weigh doing something the public likes so I can make my car payments or house payments.”

Asked about his creative influences, Tazian takes a panoramic view. “When it comes to… the idea of uniqueness, I always say, I’m indebted to the first person, man or woman, who did something in a cave.”  He is dismissive of the idea of the artist as a solitary, heroic figure.  “To me, it’s all work,” he says. “We’re all walking that same road, just maybe in a slightly different way… the idea of originality – I don’t really believe in it…all you’re doing is making a variation on what others who have preceded you have done.  So you put your own stamp on it.”

Since his retirement from teaching in 2014, Tazian has, if anything, increased his creative output.  He is currently preparing for a solo show of his recent work at Detroit’s highly respected Galerie Camille, from October 3 – 10.  Among the planned 40 artworks on display will be new limestone and bronze sculptures, multi-media paintings and computer-aided works on paper, evidence – if any were still needed – of the artist’s continuing curiosity and restless energy.

For more information about the exhibit Kegham Tazian: A Journey Through Art go here

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The artist with a detail of his  1994 bronze “125th Anniversary Sculpture” at Farmington City Hall, 2018

 

 

 

Pretty Queer

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Untitled by Colton Clifford

Pretty Queer,  a provocative summer exhibit at River House Arts, closed on August 5 but  lingers in the memory  as a thoughtful echo of one of contemporary art’s most vexed and vexing preoccupations. The artists in Pretty Queer want us to know that gender identity and gender normativity are far more thorny and ambiguous subjects than we thought, and there are as many shades of sexuality as there are humans to express them.

Over the last fifty years, the issue of alternative gender and sexual identity has taken the foreground in public discussion of how people love, present themselves and interact with the broader culture. The spectrum represented by the initials LGBTQ has fractured, with distinctions increasingly finely sliced and diced, atomized and reconstituted. Pretty Queer is an effort to quantify and enumerate some of these distinctions as they exist now,  in this historical moment.

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Untitled by Troy Hoffman

Pretty Queer’s premise is anchored in the exhibit by a work of the late David Wojnarowicz, an art polemicist who is enjoying a moment in the art world now that contemporary concerns with gender identity have caught up with his pioneering AIDS activism. The serigraph, Fire and Water (1990), projects a sense of dislocation and peril, multiple images of a confrontational pugilist overlaid by a grinning red devil. (Wojnarowicz is currently the subject of a retrospective at the Whitney Museum, David Wojnarowicz: History Keeps Me Up at Night.)

The works in Pretty Queer are characterized by a desire to act out and a countervailing compulsion to conceal which might be a core of the queer aesthetic, described by academic sex researcher Iain Morland as “the sensory interrelation of pleasure and shame.”  A number of the works in the show address the artists’ compulsion to show themselves as they are, accompanied by a pervasive sense of discomfort in this self-exposure.

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Pink Planter by Zachariah Szabo

Troy Hoffman has nailed this ambivalence with two digital prints. The first is a small, lush close-up of what appears to be a bed of roses, the centers of which turn out to be human anuses. It’s comic, pretty and deeply disturbing. It’s unclear to me what he means by his other entry, a digital collage of a sado-masochistic dog mask on a female human, overlaid by fragmented black and white images of policemen, but it’s one of those images that, once you’ve seen it, you can’t un-see it.

Fiber artist John Paul Morabito has taken a more reticent approach. His woven pieces Frottage 052 and 049, are woven tapestries that at first appear to be elegantly minimalist until (upon close inspection) ghostly images of genitals become visible.

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Boys Wear Blue by Robert Fitzgerald

Several of the artists in Pretty Queer have chosen kitsch imagery and objects to describe their response to received gender norms. Robert Fitzgerald’s Boys wear Blue is an example: A set of three deceptively demure boxes contain reproductions of 18th century china  figurines in the act of “performing” masculinity and femininity within the confines of a box (could his meaning be any more transparent?) By adding a small mirror in each box, the artist invites the viewer to place him/her/their self in relationship to given norms of gender behavior. Atop and outside the top box, a china figurine rests, his back turned in a gesture of rejection.

Across the room, Zachariah Szabo returns to the subject of kitsch as a received view of norms, turning the concept on its head with  irony and humor.  The ultra-adorable china figurine in Pink Planter seems to say “ You want cute?  I’ll give you cute!” It calls to mind pieces by Jeff Koons (Balloon Dog, anyone?) but with a sharper satirical edge. Colton Clifford’s digital print of two identical, stereo-typically feminine figures surrounded by flowers and formally arranged and constrained within an under-scale dollhouse continues and amplifies the critique on received gender norms.

Perhaps the most comprehensive and ambitious exploration of queer/gender issues is the large, mixed-media montage by Rowan Renee. Part memoir, part political polemic, the installation recounts a dispute over ownership of nude photographs of the artist with their then-partner and now-adversary, set against a backdrop of gender transition.  In a statement, Renee describes their method: “My labor-intensive process centers on the obsessive act of material transfiguration to recast a relationship I am ashamed of into the pleasure of artistic production.”

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Together But Separate (detail) by Rowan Renee

Pretty Queer,  in my opinion, does a good job of placing us within the discourse on gender and sexuality in 2018.  The question that comes to mind, though, is what will this discussion look like in 2028?  Or 3028? It seems clear that we are in the midst of an evolution that is headed for parts unknown, but one hopes it will get us to a future where equality and respect for difference prevail, when we can be content to merely call ourselves human.

For more information about Pretty Queer and Contemporary Art Toledo visit https://www.catoledo.org/pretty-queer . Artist/arts blogger Loraine Lynn has written a thoughtful review of Pretty Queer which you can access here 

 

 

 

 

 

 

 

Allie McGhee at Rotunda Gallery in Ann Arbor

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Cloud Nine (2009) by Allie McGhee

I just wrote a review of Detroit artist Allie McGhee’s exhibit Cosmic Images 2000  for AADL Pulp. His work will be on view in Ann Arbor at the Rotunda Gallery, Building 18 of U of M’s North Campus Research Center through August 31.  You can check it out here.