Tag Archives: Detroit Art

You Are Here

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Untitled installation by Sophie Eisner

You Are Here, a comprehensive survey of recent work by well over 45 Detroit artists on display throughout the  Carr Center in Detroit through December 17, aims to take a snapshot of where the city stands at this inflexion point of both local and national change.

Curator Anna Schaap says,  “Work in this show will explore location, time/place, Detroit’s future, urban development, ideas of identity, … gentrification, creative and empathetic ingenuity, and whole-brain thinking/making.” In media ranging from painting to photography to printmaking  and especially to installation, artists provide a guided tour of the changing psychic and physical contours of Detroit.

Progress in Paradise, a small installation by Julianne Lindsey and Elton Monroy  Duran is one of the most pointed–and poignant –illustrations of the fugitive nature of Detroit’s built environment in You Are Here. On a simple desk furnished with pens and paper (and  with a toy wrecking ball on the side)  visitors are invited  to describe a place in Detroit that exists now only in memory. There are, needless to say, plenty of examples, the Carr Center soon to be among them.

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Progress in Paradise (detail) by Julianne Lindsey and Elton Monroy Duran

The modestly funded non-profit cultural organization now located in the historic Harmonie Building can no longer afford its increasingly attractive commercial location. They will vacate the premises in April of 2017, possibly moving to a city-owned property in another part of Detroit. The building and the area surrounding it will be redeveloped into the Paradise Valley Cultural and Entertainment District, “a commercially driven entertainment district of retail, restaurants and nightlife reflecting the spirit of Detroit’s once thriving center of African-American economic and cultural life.”

Sophie Eisner’s installation, in a notably beautiful but decrepit staircase, enlists the Harmonie building itself as a component in her meditation on the city’s substance. Idiosyncratic art objects of unknown provenance are thoughtfully placed, and visually incorporate architectural elements of the stair and landing, creating complex cross-currents of past elegance and  present squalor.

The city’s architecture isn’t the only element in flux and on view. People too, make up the city, and there are numerous references to the diversity that characterizes Detroit.  The African-American population, with its triumphs and discontents, gets its due in works like Prism Works’ YDNA and Fuck the Police by Monique Gamble. Brian Day’s Boys on Mother’s Day strikes a  more cheerful and hopeful note.

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YDNA by Prism Views

Parisa Ghaderi ‘s installation The Sheer Presence, with its photographs on voile, creates a ghostly family portrait, at once monumental and intimate.   Sunita Gupta, a highly accomplished painter of the domestic environment, employs meticulous pattern painting and well drawn but hazy female figures in a meditative exploration of culture and ethnic identity.

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Destiny by Sunita Gupta

 

Bits and pieces of the city find their way into artworks and installations describing Detroit as it is now.  Anna Kell has carefully painted tromp l’oeil lace patterns onto found mattresses. Fishing For Small Gods, by Jak Vista and Bill Bedell, an installation that takes up much of the third floor of the building, features tree branches, stumps and the occasional cross stuck in dirt, conjuring up a desolate forest floor.

At the Carr Center, we see Detroit right now, a city  that will necessarily be different tomorrow and the day after that. Technology, politics, demography  and economics will all have their say in ways that can’t yet be quantified.  The artworks in You Are Here are a glimpse of this singular moment in the life of Detroit.

Artists in You Are Here: Celeste Roe, Eric Zurawski, Archana Aneja, Brian Spolans, Geno Harris, Dominique Chastenetnde Gery, Parisa Ghaderi, Sophie Eisner, John Neely, Anna Kell, Katina Bitsicas, Morgan Barrie, Jenna Kempinski, K.A. Letts, Donn Perez, Jennifer Glance, Tamar Boyadjian, Molly Diana, The Sien Collective, Donna Shipman, Dawud Shabazz, E. Ingrid Tietz, Darren Pollard, Renee Rials, Neil Allen Flowers, Michael Ross, Kristin Adamczyk, Monique Gamble, Patrick Ethen, Doug Cannell, Jennifer Brown, Seder Burns, Desiree Duell, Jack Vista, Bill Bedell, Sunita Gupta, Jon DeBoer, Benjamin Forrest, Julianne Lindsey, Elton Monroy Duran, Brian Day, Fatima Sow, Prism Views, Kelsey Shultis, Wall of 100 Makers, Mint Artist Guild

For more information on the Carr Center go here.

Dog Days

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Dress for  Success by Michael Dykehouse at Gallery 117, Ann Arbor

It’s August and it’s hot.  I’m tired of thinking about politics…and art and politics. But it looks like it’s going to be at least 76 more days until the end of our collective season of discontent,  so I’m treating you and me to a staycation of  some fun art that’s available for your viewing pleasure in the Detroit metro area right now.

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European 2010 Tour Poster by Matt Milia

First up, there’s the  fizzy pop-up show Ultimate Stars in Gallery 117 at the Ann Arbor Art Center from now until September 3. Musician and photographer Doug Coombs and his talented friends have put together  this  eclectic  free-for-all: drawings, paintings, puppets,  posters, music.  It’s all playful, colorful  and occasionally silly (but in a good way).  Check out a wall full of tacked- up, un-framed doodly watercolors by Jim Cherewick or take a look at the funny/creepy black and white ink drawings of Chris Pottinger. And, if you want to hear catchy tunes by the musicians who performed at the opening go here.

Artists in Ultimate Stars are: Scott Allen
Misty Lyn Bergeron, Sarah Campbell, Jim Cherewick, Michael Dykehouse, Patrick Elkins, Greg McIntosh, Tadd Mullinix, Chris Pottinger, Fred Thomas.

Wasserman Projects, near Eastern Market in Detroit,  is hosting its Summer Selections right now in a portion of the gallery, while also working on their upcoming installation Cosmopolitan Chicken by Dutch artist Koen VanMechelen.  (Cosmopolitan Chicken, opening this fall, features–yes, you guessed it–chickens.) The Summer Selections paintings are smart and humorous and well worth a look while we wait for the poultry to make its appearance. Artists in Summer Selections are: Ken Aptekar, Peter Zimmerman, Jason Yates, Michael Scoggins, Emilio Perez, Kent Henricksen, Ed Fraga, Jose Vincench, Nancy Mitchnick, G. Bradley Rhodes-Aubrey, Josh Bolin, Koen Vanmechelen, Willy Verginer.

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Tyree Guyton Installation at Inner State Gallery

Just down the street from Wasserman Projects is Tyree Guyton’s current solo show, Face-ology, on view throughout the month of August at Inner State Gallery.  These appealing, simply composed pictures with their bright, flat house paint colors on recycled grounds have the rough urban feel of the Heidelberg Project but in a gallery-friendly format.

“Face-ology is a reflection of everything that is changing about Detroit; the face of the landscape, the face of the people and even my own face,” says Guyton. 

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And last but not least, you still have time (just barely) to see Intersection: Jef Bourgeau/ Matt Eaton at Galerie Camille.  Until August 27, these bright and sophisticated paintings and digital prints from two of Detroit’s best known independent curator artists are available to soothe your sore eyes.

 

Detroit Gallery Crawl #1

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There’s been some discussion online lately about the state of the art scene in Detroit. Is it healthy?  Has it reached “critical mass”? Where are the collectors? I don’t know how other artists and art lovers define a successful art ecosystem, but to me it revolves around whether you can walk from gallery to gallery for a full day and see art.  I decided to test this theory by doing a Detroit gallery crawl. And yes, it is possible to walk from one gallery to another in the city’s midtown, downtown and Eastern Market neighborhoods and see lots of art in a day.  Although you’d better wear some comfortable shoes, since this crawl was about 6 miles long.

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My crawl companion and I started in the midtown area with Gallery Camille’s Intersection where two of Detroit’s curatorial heavy hitters are showing their artworks. Jeff Bourgeau, artist and art world provocateur, is the power behind the Museum of New Art, artCORE and the Detroit Center for Contemporary Photography. Matt Eaton is the director/curator of Red Bull House of Art and a founding partner  of Library Street Collective. Bourgeau claims to have “digitally eaten the brains and guts of the first hundred years of abstraction” and it shows here in these smoothly rendered digital prints on canvas whose ovoid forms  recall  Jules Olitsky. Eaton’s paintings, while equally appealing, seem to be arrived at more  provisionally through painting techniques commonly associated with street art. Paint is thickly applied to the surface, sprayed, dripped and poured. This is a satisfying show of two talented artists working at a high level, and (even better) the  artworks are amazingly affordable.

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From Camille we put our heads into nearby Simone DeSousa’s opening of EDITION, a companion to her  more traditional space next door.  There is plenty to like in this new approach, which offers reasonably priced limited editions of works on paper, ceramics,  art books and housewares. I particularly liked a series  of (very) limited edition silk screen prints by Wes Taylor of the experimental Detroit design studio Talking Dolls.

The area near Simone DeSousa also features a number of upscale retail stores specializing in designer objects. In  Hugh I stumbled upon a line of cocktail mixers cooked up by Steven and Dorota Coy of Hygienic Dress League in cooperation with Joe McClure of McClure’s Pickles in Hamtramck.   Right next door is Nora, which carries hand made gold jewelry and a whole lot of other cool stuff. Then we headed for Eastern Market

One of the great pleasures of walking from gallery to gallery in Detroit is that lots of great wall painting is right out there on the street.  Eastern Market is awash with murals, many created during last year’s event Murals in the Market.  The second iteration of this  highly successful project is due this September and  will add another 50 works. The show at  Inner State Gallery , Inertia, features three artists from last year’s event.  Jarus, a street artist from Toronto, seems the most comfortable in a traditional gallery which plays to his considerable skills as a draftsman. His fellow Canadian Kwest has a misfire with his aimless and desultory  bas relief panels. David “Persue” Ross of New York  performs in his signature style with smaller scale works. From this aptly named  show it appears that a traditional  gallery isn’t necessarily the best setting for artists used to working outdoors  on a large scale where the grittiness of the streetscape adds energy and verve. All of these artists have better work in the neighborhood outdoors.

We were disappointed that  Wasserman Projects was closed for installation, but you can read a review of their previous show  here. Red Bull House of Art was also closed for installation, so we proceeded to downtown and the next galleries on our crawl list.

On our way we ran into a little street theater and audience development project being conducted  by John Dunivant, creator of Theater Bizarre, a  party/performance piece held yearly in the Masonic Temple around Halloween.  The way he described it, Theater Bizarre sounds exotic, entertaining, unwholesome and irresistable.  He also said cheerfully “It’s the worst business model ever,” due to the labor intensive, immersive nature of the event.

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Our crawl continued to The Belt, “a culturally redefined alley in the heart of downtown Detroit.”  The Belt is full of street art  as practiced by some of its most  famous and accomplished practitioners and curated by the nearby Library Street Collective. I particularly liked Scratching the Surface by VHILS (Portuguese artist Alexandre Farto) and Facet by Tiff Massey, a Detroit sculptor. The Library Street Collective (which, by the way, is not a collective) currently features  banal, overpriced and dispiriting paintings by 70’s graffiti artist Futura (formerly Futura 2000).crawl 15

We perked up, though, when we entered nearby David Klein Gallery, a Detroit outpost of the space by the same name in suburban Birmingham MI. We were greeted at the door by  Revelator to the Diasporic Subterranean Homesick, a terrific plaster, burlap and plywood sculpture by Ebitenyefa Baralaye.  Also impressive were some scrimshawed panels by David Sengbusch and colorful small collages by Liz Cohen.  We were delighted to find two small pictures by noted African American artist Beverly Buchanan in the back room and happy to hear that more of her work will be shown in the fall at the gallery.

We completed our loop tour by walking back to the midtown area, stopping to rest our feet and get a bite at Cass Café, a restaurant and neighborhood gathering place that doubles as a gallery.  Here we saw Writings on the Wall, a one-person show by Vagner M. Whitehead featuring multi-part panels on which the artist has collaged and painted the imagery of verbal communication: hand signals, braille, letters and the like.

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Our last stop (finally!) was at the George N’Namdi Center for Contemporary Art, where the launch party for Essay’d was well underway.  Essay’d, the brainchild of gallerist Steve Panton of 9338 Campau in Hamtramck, is a series of long form essays about artists of note in Detroit. The first collection in this annual series will be coming out in book form in August from Wayne State University Press and can be pre-ordered here.  The diverse exhibit  currently at N’Namdi features works by recently reviewed Essay’d artists and defies easy description, but I did particularly  like  Alexander Buzzalini’s rude cowboys and  and Carl Demulenaere’s unearthly pre-Raphaelite inspired icons.

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So we’ve come to the end of our little walking tour, and it seems to me that the answer to the question of whether the Detroit art scene is healthy and whether it has reached critical mass  is a big “yes“.  We saw a full day’s worth of great artworks both on and off the street. And in the galleries we visited there is lots of beautiful and  accomplished art priced between $300-$2000 that is just waiting to be snatched up by savvy collectors. It’s only a matter of time before the rest of the art buying public discovers Detroit, so local collectors  should be out there  buying now before we are priced out of the market.  Writer Patrick Dunn has written an excellent piece about the Detroit art scene recently, and you can read it here.

Want to take our gallery walking tour? Go here

 

 

Over the Rainbow with Shaina Kasztelan

Somewhere over the Rainbow is Another Rainbow at Hatch Hamtramck is Shaina Kasztelan’s poison pen love letter to kitsch and consumerism.    This Detroit artist and recent CCS grad  seems to simultaneously love and hate the symbols and materials that she uses to create her wildly entertaining  installations, paintings and sculptures.

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Many artists in Detroit  are enthusiastic collagists of  gritty urban substance,  their  artworks depending on the inherent material  integrity of the parts to lend credibility to the whole. In contrast, Kasztelan employs the same assemblage method but uses materials that are the antithesis of authenticity.  They are, in fact, intentionally notable for their fakeness. The color is super-sweet, the forms mass market.  She  combines polyester fur, hobby shop jewels, plastic inflatables  and synthetic hair in obsessive aggregations, reaching new heights of  over-saturated,  over-the-top  visual hysteria.

I was surprised to learn that this is Kasztelan’s first  solo show.  The work seems confident, the installation expert.   The friendly yet knowing mood of the exhibit reminds me most of John Waters’s movies with their gleeful embrace of low-brow mass culture and transgressive imagery.Kaztelan Devil

Kasztelan seems especially  at ease in three dimensions. The most assured and  ambitious work in the show, entitled The Alien with the Drake Tattoo/Dedicated to the Butterfly,  is a kind of altar (complete with Juggalo nativity) that seems to burst out of a black cloud (of depression?)  She seems less at ease in the conventional rectangular format of her paintings, which felt a bit awkward to me. But she has very cleverly circumvented this unease in The Devil’s Vibrating Smile by applying the  imagery to clear vinyl. My favorite piece was a fake fur potted plant infested with tiny toy babies and topped by a pink plastic bouffant, entitled Baby Cactus is Happy. This show made me happy too.Kasztelan revised 1

Somewhere over the Rainbow is a Double Rainbow is at Hatch Hamtramck until May 28.  For more information for hours and events go here.

Did you Blink?

… If you did, you missed it.  I didn’t think it was possible for the hours at Whitdel Arts to get shorter. But I was wrong. Whitdel Arts, like many volunteer-run art spaces in Detroit, keeps its doors open only on 1 day a week for 3 hours per month-long show, a total of 12 hours. I have often struggled to get to Whitdel’s  well-conceived and well-installed shows during that window. But the  most recent show, One Year Later: Work by Tisch Mikhail Lewis was open only for 5 hours total, on Friday, May 13 and Saturday, May 14. This pop-up exhibit was held in a recently renovated and still empty craftsman-style  house on Commonwealth Street in Detroit. More about that later.

The stated theme of  One Year Later is our societal obsession with body image, weight control and conventional ideas of beauty.  Lewis says, “I use my work as a way to make sense of the world around me by deconstructing my experiences and examining them in terms of sociological theory pertaining to identity, body image, race and intersections between the three.”

These predominantly blue and yellow figures, mostly painted on raw canvas, didn’t strike me as being hard-edged political statements though.  Instead I found them to be lyrical and virtuosic figure studies, deftly done, and  quite pretty. The paintings are   relatively small scale, which gives them an air of intimacy that I enjoyed even though it undercuts somewhat the stated theme of the show.  It’s fashionable these days to make a political point with one’s art, but it seems to me that lovingly created and well drawn traditional figures  have value too.

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Now, as to why Whitdel Arts is open during shortened hours in a pop-up gallery. I have some bad news:

Through no fault of their own, the collective recently found itself out on the street following a sudden  notification from their landlord that their presence in the space was no longer welcome. While I  understand that nothing lasts forever, and that a landlord who has been generous in the past is under no obligation to be generous in perpetuity, the behavior of Southwest Solutions was abrupt and shocking. It also points to a growing hazard for non-profit collectives in the city. As  higher real estate prices come to Detroit, there will be increased economic  pressure to displace worthy but underfunded arts organizations of all types.

In spite of losing their  Hubbard Street space, the Whitdelians have vowed to soldier on, and are currently planning to maintain an active schedule of pop-up exhibitions until they are able to secure more permanent gallery space. So, for now,  it will be a little more difficult to keep track of Whitdel events.  You can go to the Whitdel Arts page on  FaceBook for updates here.

Hatch Art buys Hamtramck Disneyland

The non-profit artists’ collective and gallery Hatch Art  has purchased  Dmytro Szylak’s Hamtramck Disneyland, an extensive outdoor installation of handmade folk art along with the  two homes located on the property. Szylak, a Ukrainian immigrant and former GM autoworker,  created the work beginning in 1992. It was completed in 1999. He died in 2015 at 92, leaving uncertain prospects for the property and its art.

For a time inheritance disputes left the future uncertain, but recently the homes – and the art – were put on the market with the expressed preference of the seller (although not the requirement) that the work remain intact. To the relief of many, Hatch Art has stepped in to purchase and preserve Hamtramck Disneyland.

Hamtramck Mayor Karen Majewski calls Hamtramck Disneyland “a work of a premiere Hamtamck artist,” a “tourist destination worldwide,” a “neighborhood institution” and an expression of the immigrant and working-class experience in Hamtramck. “There is no alternative but preservation,” she adds.

Scott Collins, president of Hatch Arts’ board of directors, said his group purchased the property after obtaining a private loan. He said they plan to open the houses to tenants this summer, and start restoring and sprucing up the backyard artwork.
One goal is restoring the electric lights around the installation that haven’t worked for years. “We are going to make a lot of extra efforts to preserve the art,” Collins said. “It’s been a landmark in the city for a long time. It’s a great example of Hamtramck history, immigrant history and the independent arts scene.”

To get a tour of this unique site-based installation you can go here

Hatch Hamtramck is 10 Years Old

It doesn’t seem possible,  but time flies and Hatch Hamtramck has been around now for ten years.  In celebration, the non-profit studio and gallery has organized its tenth annual juried exhibit Hatchback 10. This  comprehensive  exhibit, juried by Detroit art personality James Dozier, features 55 Hatch artists and is on display through April 30.

A celebratory 10th Anniversary Party will be held 6-10 on Saturday, April 30 in the Gallery. The event is free and open to the public.

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Dumped for a Stripper by Erin K. Schmidt

Hatch is the brainchild of Hatch president Christopher Schneider and Erik Tungate, Hamtramck’s former Director of Community & Economic Development. They saw a need for an artist community that would promote Hamtramck in a positive way, where artists could pool their resources to challenge each other and reach out to the greater community.

United by the shared mission of Education, Expression and Exhibition, the group rapidly gained followers and supporters. Regular meetings were held in community centers, local businesses and artists’ studios. In 2007, Hatch achieved 501[c]3 nonprofit status and developed a full calendar of events. Within its first year of existence, Hatch founded the Detroit chapter of Dr. Sketchy’s Anti Art School, represented Hamtramck artists at 2 art fairs, and hosted concerts, critiques, educational workshops and more.

Hatch purchased the old police station at 3456 Evaline from the City of Hamtramck in 2008. For the next four years, renovations were made, concurrent with fundraising and maintaining a full events schedule. A new roof and central heating system were made possible through grants and crowd sourcing campaigns. Volunteers put in countless hours to help convert the former police station into a space for making and exhibiting art.

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Portrait of Jack Summers by Deborah Marlow Kashdan

Hatch Gallery officially opened in April 2012. Upstairs, studios became available for rent in July and were at full occupancy by the year’s end. Classroom space was finished in March 2013.

 

 

 

 

“Them” at Butter Projects in Royal Oak

Luxury, identity, class, perversity, carnality, playfulness… Royal Oaks’ Butter Projects has stirred it all together to create a thoughtful visual feast that describes what lies on the surface and what lies beneath.  “THEM” is loosely framed around portraiture, commonly defined as a representation or likeness of a specific individual, but each artist has gone far beyond the mere creation of a likeness to portray the unseen  reality below the surface.

Thirty-three beautifully rendered black and white gestural portrait studies by William Irving Singer anchor the show against an meticulously painted blue brocade background.  The portraits, which are made with black acrylic on coarse un-primed canvas, comment ironically on the society portrait as a signifier of wealth and importance. The lone likeness by Singer which features color, entitled Some Sort of Lunch Line, seems to portray a member of the have-not class who nonetheless sports a kind of jaunty elegance. somesortoflunchline

Works by Lauren Kalman consist of fetishistic photographs of  hooded women. The effect of these photographs is ominous and seems to indicate that the woman portrayed is engaged in some kind of luxurious pearl-encrusted sex play. She is not powerless, but she is immobilized.

The photographs are accompanied by formal hood-like clay or pigskin sculptures, some with corks or objects stuffed in the apertures where one would expect to find eyes or mouths. They are both humorous  and disturbing.

But if the crime is beautiful

As if to add some lightness to this otherwise serious exploration of the self, Butter Projects has included three-dimensional work from artist Kat Burdine. These canines are engaged in doing what dogs do and doing it with abandon: pooping, groveling and licking…no inner angst here. Entitled “Strays” these  chunky life-sized wooden creatures project a kind of joy in spite of  their displacement.

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During the run of the exhibition, Butter Projects will hold open hours Saturdays and Sundays from 1-3pm. Additional hours can be made by appointment. Them will be on exhibit until May 7, 2016

Butter Projects is an artist run studio and exhibition space. For more information contact Alison Wong butter.projects@gmail.com

Butter Projects, 814 W. 11 Mile, Royal Oak, MI 48067

 

 

 

 

Borders Exhibit Opening March 3

Letts_The Borderlands (painting)

I am delighted to be included in the upcoming juried exhibition Borders,  hosted by River House and the Owens Community College  Center for Fine and Performing Arts.  The opening reception will be held on Thursday, March 3, from 6-8.  The juror, Sarah Rose Sharp will be speaking at the  opening reception.  She is a 2015 Kresge Literary Arts Fellow for Arts Criticism.

The exhibit will run March 4-31 at the Walter E. Terhune Gallery in the Owens Community College Center for Fine and Performing Arts, located at 30335 Oregon Road, Perrysburg OH 43551. Check here for more information.

A total of 17 artists have been selected to exhibit 27 pieces of work in the juried exhibition. Artists were asked to consider these questions in submitting their works: Where do we find borders and how do they shape us? Why do we embrace or reject them? When does a unifying contour become a divisional line?

The selected artists: David Burke – PA, David Cuatlacuatl – IN, Mary Fortuna – MI, Maureen Joyce – PA, Lindsey Landfried – PA, Yusurf Lateef – OH,  K.A. Letts – MI,  Zach Lihatsh – IL,  Mary Mazziotti – PA, Laurenn McCubbin – OH, Sidney Mullis – PA, Gabrielle Roach – IN, Whitney Sage – OH, Jina Seo – IL, Meagan Shein – MI, Kathryn Shinko – OH, Jessica Tenbusch – MI

Hatchback 10 Call for Art

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Hatch Gallery and Studios, located at 3456 Evaline in Hamtramck, Michigan, has issued a call for artists for Hatchback 10, its annual art exhibition and sale. The due date for applications is March 7, with artist notification on March 14. There is no fee.  The Juror is James Dozier, an accomplished multimedia visual artist represented by Ferndale’s Batista Gallery. Mr. Dozier reports via e-newsletter on art exhibits and cultural events throughout the Detroit area.

There is a limit of 3 images per artist; all media are accepted. All artwork must be for sale. HATCH will take a 30% commission from artwork sold during the exhibition. Entries will be judged from digital files. Images should be about 800 pixels at their longest side. Include the artist’s name in the digital file name.  Entries may be submitted via email or on the Hatch website.  For more information and to apply,  go to: http://www.hatchart.org/hatchback

Hatchback 10 will be on view in the Hatch Gallery from  April 2 to April 30. An opening  reception will be held on April 2 from 6-10 p.m. Gallery hours: Saturdays, 1-6 p.m., with participating artist talks weekly on Saturdays at 2 p.m.