Halloween Events Around Ann Arbor

Halloween Events This Weekend

It's the Great Pulpkin, Charlie Brown.

If you're looking for some fun events around town for the Halloween weekend, read on for creepy cemetery tours, devilish dance parties, shadow puppet theatre, and more Halloween arts & culture:

Book-Themed Halloween Costume Contest
Monday, October 31st - 10:00am-9:00pm
Literati Bookstore - Ann Arbor, MI

Halloween at the Market
Saturday, October 29th - 12:00pm-2:00pm
Ann Arbor Farmer's Market - Ann Arbor, MI

Highland Cemetery Lantern Tours
Sunday, October 30th - 7:00pm-9:00pm
Highland Cemetery - Ypsilanti, MI

Shadow Puppet Double Feature
Saturday, October 29th - 9:00pm-11:00pm
Triple Goddess Tasting Room - Ypsilanti, MI

Cultivate Masquerade & Costume Bash
Friday, October 28th - 8:00pm-12:00am
Cultivate Coffee & Taphouse - Ypsilanti, MI

Black Cat Cabaret - Neighborhood Theatre Group
Friday, October 28th and Saturday, October 29th - 8:30pm
Bona Sera - Ypsilanti, MI

Halloween Treat Parade
Monday, October 31st - 11:00am-5:00pm
Main Street Area - Ann Arbor, MI

A2DC Presents: Hullabaloo Halloween Spooktacular
Sunday, October 30th - 6:00pm-10:00pm
Ann Arbor Distilling Company - Ann Arbor, MI

The Bang! Halloween Dance Party
Saturday, October 29th - 9:30pm
The Blind Pig - Ann Arbor, MI

Nightlife Arcade Gaming Spooktacular
Friday, October 28th - 6:00pm-9:00pm
The Forge by Pillar - Ann Arbor, MI

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Preview: ypsiGLOW


The Wonderfools team sports GLOWing headgear  in front of ypsiGLOW partner Riverside Arts Center.

The Wonderfools team sports GLOWing headgear in front of ypsiGLOW partner Riverside Arts Center.

YpsiGLOW--the first annual family-friendly, multi-sensory light, art, and music celebration of fall--will be held in downtown Ypsilanti this Thursday, October 27. Festivities commence at 5 pm at the Main Branch of the Ypsilanti Public Library at 229 W. Michigan Avenue with a preGLOW kid's costume party. Treats, activities, games, and a costume contest will be followed at 6:30 pm by a walking costume and luminary parade from the library to the nearby ypsiGLOW block party on Washington between Pearl and Michigan Avenue.

As a DJ spins tracks from his scissor-lift perch, a UV light-activated dance floor and blacklight animated alleys provide space for costumed adults and kids to move with the music. YpsiGLOW artists will perform on the street and in shop windows. Blacklight body artists will be on hand to paint faces and make hair glow in the dark. Also featured will be a blacklight reactive superhero mural, a giant luminary skull, a six-foot-tall grizzly, jack-o-lanterns, shadow puppets, and much more. Dancers from the WCC Performing Arts Department and the EMU Dance crew will perform, and films and projections will light up the night. Costumes are encouraged, trick-or-treaters are welcome and stores will be open until 9:30 pm. There is ample free parking on streets and in city lots for the event.

And for adult GLOWers who want to continue the party, there is an afterGLOW in the spooky black cellars of Bona Sera with DJ Ryan Gerald until midnight.

It took a village to get this event going. It began two years ago when members of the Washtenaw Convention and Visitors Bureau, The Downtown Association of Ypsilanti and Wonderfools Productions (of Ann Arbor Festifools fame) decided a Halloween-season festival would be a great addition to Ypsilanti's already very successful First Fridays. Wonderfool organizers Shary Brown, Mark Tucker, Jeri Rosenberg, and Adriana Zardus began meeting with creative members of the Ypsilanti community, the Ypsilanti Public Library staff, and local educational institutions as well as with civic leaders. Together, they developed a plan to leverage the outsize creative capital of Ypsilanti, the under-utilized downtown real estate, and a little seed money to create the one-night annual cultural festival that is ypsiGLOW.

Just a few of the artists who will be participating in ypsiGLOW:  (clockwise from top left) Angel Vanas, Jermaine Dickerson, Oona Goodman, Cre Fuller.

Just a few of the artists who will be participating in ypsiGLOW: (clockwise from top left) Angel Vanas, Jermaine Dickerson, Oona Goodman, Cre Fuller.

I asked some members of the Wonderfool production team about their process:

"Two of our first partners were Barry LaRue and Will Hathaway of Riverside Arts Center. They, in the space of less than a week, had sent out email introductions. So we spent two and a half to three months just meeting people," says Shary Brown.

Adriana Zardus adds, "Those three months were really important--we called it our discovery phase. We weren't prescribing any ideas. We were just saying that this is what our organization does: we connect different businesses, artists, and community organizations together to make their own creative vision... There's such a wealth of artists and creatives and community leaders that it was the easiest thing in the world to let go of the creative reins and hand it over.”

One thing that was very clear to the team from the start though, was that the event had to have its own unique Ypsi character that to showcase the strengths of this diverse artist, musicians, and creatives-rich community, starting with the choice of a name. They came up with ypsiGLOW in consultation with community members. It was an instant hit.

"GLOWing is positive, it's artistically descriptive and appropriate for the season,” says Shary Brown.

To prepare for the big night, 23 ypsiGLOW workshops have been held by community and arts organizations like Ozone House, Project 23, FLY Children’s ArtCenter, and many others. Masks, jack-lanterns, luminaries, and giant light creatures are now ready to make the night GLOW.

YpsiGLOW will get its first airing this Thursday but certainly not its last. The Wonderfool production team and Ypsi’s artists, educators, businesses, and community leaders are hoping to start an annual tradition that will bring everyone in the Ann Arbor/Ypsi area together for a satisfying shared community art experience for all ages.


K.A. Letts is an artist and art blogger. She has shown her work regionally and nationally and in 2015 won the Toledo Federation of Art Societies Purchase Award while participating in the TAAE95 Exhibit at the Toledo Museum of Art. You can find more of her work at RustbeltArts.com.


The first ypsiGLOW is Thursday, October 27, 2016, from 6:30 pm to 9:00 pm at Washington Street (between Pearl St. and Michigan Ave.) in Ypsilanti. Glow-gear and costumes are strongly encouraged.

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Review: Free Wet Hugz | 94th Annual All Media Exhibition


Free

Free Wet Hugz the 94th annual all media exhibition is up at the Ann Arbor Art Center's 117 Gallery through Saturday, November 12, 2016.

There's a lot to love and hate in an all media art exhibit.

On the plus side there's plenty to look at and much of it is wonderful. An all media show can provide visitors with a tantalizing array of original ideas and novel approaches to making art. It can be energizing and thought-provoking. On the other hand, it can seem like an all-you-can-eat buffet, and feelings after a visit can feel like aesthetic indigestion from an overdose of visual sensation.

Paul Kotula, this year's juror for Free Wet Hugz, the 94th annual all media show at Ann Arbor Art Center's 117 Gallery, has spared us an art bellyache with his judicious editing and careful arrangement of the works on display. This exhibit features about a third fewer entries than last year's, with the result that the art that's included has room to breathe.

Kotula has chosen to put his emphasis on abstract painting, and this is some of the strongest work in that medium I've seen locally in quite some time.

I have always liked John McLaughlin's small drawings, but had reservations about his larger paintings, which seemed busy and disorganized to me. With Drawing a Blank, McLaughlin seems to have resolved the question of how much visual incident to include in this larger format. His abstract but referential fragments feel comfortable on the picture plane and just right.

Drawing a Blank by John McLaughlin (top left), Night Demonstration by Rocco DePietro (top right),<br />
Exist, Co-Exist: Harmony 2 by Yuling Chuang (bottom left), Embrace by Haena Kang (bottom right).

Drawing a Blank by John McLaughlin (top left), Night Demonstration by Rocco DePietro (top right), Exist, Co-Exist: Harmony 2 by Yuling Chuang (bottom left), Embrace by Haena Kang (bottom right).

Rocco DePietro's Night Demonstration, with its horses, helmeted men and gas masked central figure puts me in mind of German expressionism of the early 20th century, and it’s his best painting to date.

And there is also plenty of wonderful work by artists who are new to me. A dreamy painting by Yuling Chuang entitled Exist, Co-Exist: Harmony 2, is composed along the lines of a traditional Chinese map. Diminutive line drawings of toy-like cities share the landscape with tiny white ghost figures.

Also impressive are two paintings by Haena Kang. In Boundless and Embrace she employs pattern painting to create the impression of undulating seascapes, or perhaps kelp beds.

Let's Dance by Chia-Yi Huang, Scenario by Jack St. John, and the ambitiously scaled Abstraction #14 (Meltdown) by Dennis Jones are terrific examples of abstract painterly painting. In a more figurative vein, Chaos in Captivity by Jean-Paul Aboudib and No Fear by Nathan Margoni are powerful and disturbing.

There were fewer works of photography and sculpture than in years past, but they, too show the result of careful curation. Most of the sculpture consists of simple assemblage like Folded Drawing 5 and Folded Drawing 8 by Ruth Koelewyn, edging over into installation with In Memorium by Gloria Pritschett and Loraine Lynn’s glass, wood and brick construction, 85 Hours. Bruce Giffin, a gifted photographer who is well-known for his pictures of Detroit and its residents presents us with Bill and His Chihuahuas. A small, remarkable photo, Conduct Becoming: Surveys #3 and #4, by CJ Breil, tells the entire life story of an elder couple in a single image.

On the basis of the paintings alone, Free Wet Hugz deserves a visit and when you add in the small but choice selection from other media, it's a no-brainer.


K.A. Letts is an artist and art blogger. She has shown her work regionally and nationally and in 2015 won the Toledo Federation of Art Societies Purchase Award while participating in the TAAE95 Exhibit at the Toledo Museum of Art. You can find more of her work at RustbeltArts.com.


Free Wet Hugz: 94th Annual All Media Exhibition is on display through Saturday, November 12, 2016 at the Ann Arbor Art Center, 117 W. Liberty St., Ann Arbor, MI. 48104.. More information about the exhibit can be found at the Art Center's website.

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PowerArt! Profile: Cathy Jacobs


PowerArt box design by Cathy Jacobs (left) Interface I by Cathy Jacobs, oil on canvas, 36” x 36” 2012 (right)

Starry Night by Cathy Jacobs, traffic box at the corner of Miller & Main St. in Ann Arbor, print on vinyl. (left) Interface I by Cathy Jacobs, oil on canvas, 36” x 36” 2012. (right)

Cathy Jacobs doesn't remember not being an artist. As a child she sat at the vanity of her upstairs bedroom drawing obsessively for hours.

"I was always drawing from the time I was 3 or 4. When I was 7 or so, I thought I can be an artist! I had a vision of a sort of Salvador Dali character in a beret and a pencil mustache."In fact, she remembers dressing up as the surrealist master for Halloween one year. This seemed perfectly natural to her, since art was a man's world at the time.

"I always thought I’d grow up to be a man” she says, laughing.

The image Starry Sky that was chosen for the PowerArt Project box now installed at Miller and Main in Ann Arbor, comes directly from her childhood memories. She vividly recalls looking out of her bedroom window at the night sky and the houses in her Ferndale neighborhood. "I didn't like that they were so uniform, so I invented columns and balconies for them in my mind," she says.

Jacobs' interest in painting and drawing was a constant throughout her childhood and adolescence and was followed by college art studies. She studied painting at Wayne State University where she earned a B.F.A. and continued at Eastern Michigan University where she graduated with a Master of Fine Arts in Painting degree in 2015.

Her paintings from this period are figurative and show a strong interest in fantasy and storytelling. Fairytale archetypes and mysterious situation, puppets, dolls and queens populate her pictures. They have the quality of half-remembered dreams, fascinating and just out of reach.

Her work at this time was well composed and expertly painted, but Jacobs felt dissatisfied. She wanted the color, translucency and light in her paintings to escape from the picture plane and from narrative imagery. She experimented with various sheer or translucent materials--metal screen, gauzy silk and the like--collaged onto her paintings. The kind of lightness and atmosphere that she wanted seemed impossible to achieve with the media at hand.

But then, in 2014, Cathy Jacobs discovered weaving. Finally, this new medium allowed her to escape the painted canvas and the drawn image.

"It immediately took hold of my imagination. Through weaving, I found that I could express the full spectrum of colors and moods, but in real 3-dimensional space...I learned weaving and all of a sudden all the things I was thinking about in my paintings, the depth you would get through layers of color and translucency, I found I could get in 3 dimensions."

Portal by Cathy Jacobs, handwoven linen, aluminum screen, mirror, metal hinges, 75” x 42” x 12”, 2015.

Portal (3 views) by Cathy Jacobs, handwoven linen, aluminum screen, mirror, metal hinges, 75” x 42” x 12”, 2015.

Cathy Jacobs sees the way before her clearly now. "My current focus is in weaving panels of linen that, when layered together create vibrating fields of color." She has already had some success, exhibiting her woven panels at Sofa Chicago 2015 on Navy Pier, and in the 2016 Architectural Digest Design Show in New York City. This fall, her work will be featured in World of Threads in Ontario, Canada.

Jacobs enjoys both the process of weaving and "the sense of finality and completion that comes when I finish a piece“ She seems to have found the means and medium to bring to the real world the contents of her imagination. Every working artist knows that this clarity is a temporary thing in a long creative life. Cathy Jacobs is a young artist and the future may see changes in her art practice, but for now she is happy in her woven world.
"It feels like a really good fit," she says, smiling.


K.A. Letts is an artist and art blogger. She has shown her work regionally and nationally and in 2015 won the Toledo Federation of Art Societies Purchase Award while participating in the TAAE95 Exhibit at the Toledo Museum of Art. You can find more of her work at RustbeltArts.com.


Take a walk and see the PowerArt! boxes up close and personal; a map of PowerArt! box locations is available to download. PowerArt is a partnership between the Ann Arbor Downtown Development Authority (AADDA) and the Ann Arbor Public Art Commission (AAPAC), The Arts Alliance is managing the selection and installation of artwork by local artists on power boxes throughout downtown Ann Arbor. You'll find more info about the project at the Arts Alliance website.

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Ann Arbor Area Artists at ArtPrize 8


New Century Shadow Dancers at Art Prize 2012

ArtPrize 2016 took center stage at Grand Rapids September 21 through October 9, 2016. (New Century Shadow Dancers from Dallas at ArtPrize 2012).

It's official – ArtPrize 8, the "radically open international art competition" in Grand Rapids, Michigan, now boasts the largest attendance to an art event on planet Earth. The 19-day event is now over for this year, the votes have been tallied and the 2 Grand Prize Winners (as well as the winners of the Category Prizes) have been announced. 

Visitor numbers for this year have yet to be tallied, but from a mere 200,000 visitors in 2009, last year's event drew over 400,000 visitors from all 50 states and 47 countries. Clearly, ArtPrize has been and continues to be a wildly successful and popular art event that has put Grand Rapids on the cultural map.

Artist participation has fallen slightly from a high of 1,713 in 2010 to this year's 1,453. In a tacit admission that the event may be more of an unmixed blessing for the town than it is for the artists, additional prize money has been added to the two whopping $200,000 Grand Prizes in the form of 8 smaller $12,500 prizes in 2-dimensional, 3-dimensional, time-based, and installation categories (both voted by the public and juried)–plus a juried prize for best curated venue. Grants totaling $280,000 have also been awarded to artists, curators and venues for fabricating and installing site-specific artworks and exhibits.

Five entries from the Ann Arbor/Ypsi area were on view in Grand Rapids this year, and they are representative of the diverse backgrounds and professional experience of ArtPrize artists overall:

Invasive Species by Shiny Seed

Invasive Species by Shiny Seed.

One Ann Arbor/Ypsi entry, Invasive Species by Shiny Seed, managed to make it into the prestigious final round of 20 for the $200,000 Public Choice Award, although the top prize ultimately went to Wounded Warrior Dogs by James Mellick of Milford Center, Ohio. (The Juried Grand Prize went to The Bureau of Personal Belonging by Stacey Kirby of Durham, North Carolina.)

Invasive Species, a giant aluminum-wrapped and LED-festooned tree, is a collaborative effort by software/electrical engineer and sculptor Gene Foulk and Casey Dixon, artist and shop manager of Maker Works in Ann Arbor.  Invasive Species displays in abundance the qualities that can seize and hold the attention of the ArtPrize public and win their votes. It is figurative, centrally located, monumental in scale.  It also demonstrates the technical mastery of the artists, is meticulously crafted and expresses commonly shared values in its environmental theme.

Oracle by Janet Kelman

Oracle by Janet Kelman.

ArtPrize 8 is Ann Arbor glass artist Janet Kelman’s first experience with the event. She has been creating works of art in glass since she fell in love with the material while studying chemistry in college. Her wall-hung relief/assemblage Oracle was installed on the second floor of the Gerald R. Ford Presidential Museum.

Kelman is drawn to water and images of water, and her latest work is an exploration of that fascination. Oracle is one of a series on this theme. It is deceptively simple in form but complex in execution. Composed of 16 separate layers of fused glass displayed at varying distances from the wall, the panels overlap and interrelate in color and shape. She describes her process, saying, "I create small glass pieces using threads of glass, enameled images, crushed glass, whatever else I can dream up, and assemble them in layers on a kiln shelf.  The finished fused glass always provides surprises, its constant allure."

Other work by Janet Kelman can be seen at WSG Gallery in Ann Arbor and Vale Craft Gallery in Chicago.  




How to Draw the Human Eye by Megan Foldenauer.

Megan Foldenauer, whose time-based drawing and video How to Draw the Human Eye was on view at the Women's City Club, has lived and worked as an artist in Ypsilanti for 11 years. Her virtuosic pencil drawings of a wide variety of single human eyes arranged in a grid around a small video screen make excellent use of her background in anatomy and medical illustration. She claims she has always known how to draw: "I'm one of those 'all of the sudden I could draw' types. A gift, a calling, a life’s purpose, whatever you wanna call it – I didn’t have to work-work-work to be able to draw… it’s just something I can always remember doing."

Pallet by J. Daniel Strong

Pallet by J. Daniel Strong.

A freestanding diptych by J. Daniel Strong was installed in a corner park a bit off the beaten path during ArtPrize. Strong is an Ann Arbor muralist who usually works on commission. The imagery on the front of Pallet is based on Roman paintings in Pompeii, with an array of quotes on the back that refer to humans and their interaction with nature over time.

Sunset MonMartre, 1896 by Peter Warburton

Sunset MonMartre, 1896 by Peter Warburton.

I was pleased, and a little surprised, to see an artwork by Peter Warburton prominently displayed on the main floor of the Gerald R. Ford Presidential Museum.  I have seen Warburton's "paintings" from duct tape from time to time in coffee shops around Ann Arbor and Dexter, and have always been charmed by them. A self-taught artist, he has often taken works by Vincent Van Gogh as inspiration for his pictures because he feels a spiritual kinship with the troubled French Impressionist. In Sunset, Monmartre, 1896, he evokes the jumpy stippling of Van Gogh's brushwork; the sun shining over the windmill in the picture mimics a giant eye glaring at the landscape below.

The participating artists’ opinions of ArtPrize experience are, finally, as varied as the individuals themselves, from an enthusiastic “pretty awesome” to a less positive “I’ll never do that again” and everything in between. The key to evaluation of the ArtPrize experience though, is in the management of expectations. With only 11 prizes to divide among over 14,00 entries, artists must weigh whether exposure of their work, engagement with the public and a line in their resume justifies the considerable expenditure of money and time required. What isn’t in doubt is the genuinely positive--and even transformative--effect ArtPrize has had over the last eight years for the city of Grand Rapids and its citizens.


K.A. Letts is an artist and art blogger. She has shown her work regionally and nationally and in 2015 won the Toledo Federation of Art Societies Purchase Award while participating in the TAAE95 Exhibit at the Toledo Museum of Art. You can find more of her work at RustbeltArts.com.


ArtPrize is an annual event in Grand Rapids, MI. For more information about ArtPrize go to artprize.org.

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Overview: Pop-X 2016


Pop-X

Pop scenes from Pop-X 2016

It may sound like lofty praise, but it’s becoming readily apparent that POP•X is one of the most important events on the contemporary Ann Arbor visual arts calendar. It’s a curious blend of some of our most talented arts groups and individual artists tacitly stepping out of their comfort zone.

The polish and professionalism on display in the installation site was POP•X 2016’s conventional strength—and its non-conformity was the fact that the event took place at all. While this seeming contradiction may be paradoxical to some, it follows seamlessly (perhaps even providentially) from a trajectory that fits the mood of our time.

For the fact is: POP•X fills a gap in our local visual arts that’s been all-too-lacking for some time on our arts calendar. Tucked nicely in downtown’s Liberty Plaza, the installation site was as tidy and manageable as an arts event could be in contrast to the overwhelming behemoth that annually invades Ann Arbor over the course of a week in July. That massive congregation may be ostensibly devoted to the arts, but it’s not really about art. Rather it’s a merchandizing juggernaut that allows the entire community to celebrate the idea of art.

By contrast, POP•X 2016 is a different thing altogether. It partakes of the slightly off-kilter vibe of the mid-20th century “happening.” Granted, it’s far tamer than the Allan Kaprow inspired performance art which sought to perplex as much as it meant to elucidate. But then again, everything slows down as it matures.

There’s instead a touch of the provocateur in POP•X 2016. And the art is of sufficient quality as to gently mask this tension. Instead, as would have been noted by the countercultural Fluxus group of this same mid-20th century period, it’s the sheer concreteness of POP•X that democratizes the activity. There’s no artificial boundary to the event (outside of its physical boundary) because the only border to POP•X 2016 is territorial and this is a logistical distinction.

Whether referencing Kaprow’s performance art or Fluxus’ abstraction, it was one of Neo-Dada's conceits that art be taken off the wall—Pop Art, Environmental Art, Conceptual Art, Optical Art, and other likeminded art forms of this stripe—sought to reinterpret the concept of art altogether. Yet one of the aesthetic ironies of Modernism was that even these kinds of art were still typically found confined to the gallery setting with all the expectations of such pretensions.

Let’s just suffice to say POP•X 2016 bursts though the aesthetic fourth wall of the gallery mentality by gleefully setting up shop outdoors and letting the setting itself serve its basis. But the conventionality of the “art” market has also restricted the possibilities of democratizing the aesthetic potential.

By contrast, POP•X effectively uses the conventions of art to work in an allied configuration that expands these possibilities. Indeed, it’s likely (on the presumption that Ann Arbor is wise enough to continue in this vein) that the possibilities of POP•X have not really yet been broached.

If only for the reasons mentioned above: There’s a homey feel to the POP•X 2016 spirit that’s channeled through the professionalism of the artists and art groups on display. The impulse is clearly there: For example, Lisa Waud’s incarnation of her Detroit-based Flower House utilized her installation to craft a display of nature that threatened to burst from its confine. And although it was based on the limitation of its video monitors, there is a remarkable amount of possible expansion in Donald Harrison and Martin Thoburn’s invigorating four-channel installation roaming Ann Arbor from each direction via its Liberty Plaza starting point.

Effectively—and, again, presuming our arts community is wise enough to build on this remarkably dexterous POP•X format—we still haven’t seen what POP•X 2016 can really be. The possibilities are there; just as the evolution of the village lies in the flexibility of the pavilion format. And this is the most exciting—as well as most important—element of the format.

As is evident from other places and events, contemporary art is clearly reconsidering itself at this time through the adventurousness of its practitioners. It was most evident in the mid-to-late 20th century through the reincarnation of ceramics, fabrics, and functional design.

This is the fundamental and continual challenge of all aesthetics. And POP•X is on the vanguard of this most recent artful transition. So the only real question then is what this change can be?

Because if POP•X 2106 is any indication, we don’t really know yet. For it’ll be the task of our local artists and arts groups as well as visionaries like the Ann Arbor Art Center’s Omari Rush to nurture the concept through its possible growth.

Rather than hope that we see a POP•X again—think in terms of how we see it again. For this is the test of the visual arts.


John Carlos Cantú has written on our community's visual arts in a number of different periodicals.


POP•X is an annual ten-day festival presented by the Ann Arbor Art Center. POP•X 2016 was Thursday, September 22 through Saturday October 1, 2016 from noon to 8pm at Liberty Plaza Park, 255 East Liberty St, Ann Arbor. To learn more visit popxannarbor.com or the POP•X Facebook event page. POP•X is free and open to the public.

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Designer Aaron Draplin brings Portland style to Ann Arbor



Orange you glad Aaron Draplin is coming?

Fresh off his appearance at this year’s TEDxDetroit conference, prolific graphic designer (and Michigan native!) Aaron James Draplin will be bringing his powerhouse personality to the downtown Ann Arbor District Library on Friday, October 7, for a special mid-day talk that will start at 12:30pm.

Draplin’s passion for creating “good work for good people” combined with his bold independence is infectious and inspiring. You may have seen his work in any variety of short videos posted in recent years, like this logo design challenge (Vectors are free!), or his Skillshare classes, or his fantastic critiques of signage and design.

Based in Portland, Oregon, Aaron has been the sole proprietor of the Draplin Design Company since 2004. His clients range the full gamut from friends selling hot dogs (Cobra Dogs), Nike, Burton Snowboards, Esquire, Red Wing, Ford Motor Company, and the U.S. Government / Obama administration’s 2009 American Recovery and Reinvestment Act and the USDOT TIGER program.

In addition to his client work, he has generated a massive amount of “merch” in his personal projects including retro-inspired Space Shuttle posters, “thick lines” posters, and “Things We Love” State posters. His collaboration with Jim Coudal produced the well-known Field Notes brand, inspired by the kinds of memo books used by farmers (and a product of his passion for “goin’ junkin’” and “rescuing stuff”).

Expect some robust storytelling about his career and the creation of his first book, Draplin Design Co.: Pretty Much Everything. From the contracts to the scheming, from the pagination to the design, from the tears to the nightmares, he’ll tell you what it’s like to cram your whole half-wit design career into 256 pages and live to tell the tale. He'll pack in stories from the run-up, release, and surreal fallout, as well as updates to other tricky ventures the DDC has been up to.

After Aaron’s whirlwind mini-tour of Southeast Michigan, he will be embarking on a national book tour in support of the book. Pretty Much Everything is a jam-packed, in-your-face retrospective of his work so far, including drawings that give insight into his inspiration and process. In addition to the work itself, you get stories, commentary, and priceless advice in Aaron’s distinctive voice about what drives him and his work. It’s a must-have book for any designer.

Draplin’s relentless pursuit of creativity is sure to give you a swift kick in the pants to get out there and do great work. Leave work for an early lunch and then head over to AADL to jumpstart your weekend at an event that is not to be missed.

And if that’s not enough, his entire presentation is dipped in his signature color—Pantone Orange 021.


Amanda Szot is a graphic designer at AADL, and will likely have to breathe into a paper bag when introducing Aaron at his talk on Friday. She’s that excited.


Aaron Draplin will be at the AADL Downtown Library, 343 S Fifth Ave, on Friday, October 7 at 12:30 pm. This event (like all library events) is free of charge.

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TAKESHI TAKAHARA: IN LOVE WITH THE PROCESS


Out of the Mud XV by Takeshi Takahara

Out of the Mud XV by Takeshi Takahara is currently on display at the WSG Gallery as part of the exhibition Imperfection. / Image courtesy of Takeshi Takahara, through the WSG Gallery.

KA Letts (of RustbeltArts.com) has written a great review of the WSG Gallery's current exhibition.

"Takeshi Takahara believes in the handmade, the one-of-a-kind, the idiosyncratic. This might seem a counterintuitive attitude in an accomplished master of intaglio printmaking, a medium which embodies the aesthetic of the multiple and reproducible. But in his first solo show at WSG Gallery he demonstrates that his unique, eco-friendly hybrid intaglio/woodcut process for creating small print editions (often only 5 to 9 per title) can deliver artworks that pack all the punch of a one-of-a-kind painting. Imperfection, a meticulously curated and well arranged grouping of prints on the theme of the lotus, is on view in the WSG gallery from now until October 22."

Visit RustbeltArts.com to read the review in its entirety.


K.A. Letts is an artist and art blogger. She has shown her work regionally and nationally and in 2015 won the Toledo Federation of Art Societies Purchase Award while participating in the TAAE95 Exhibit at the Toledo Museum of Art. You can find more of her work at RustbeltArts.com.


Imperfection will run at the WSG Gallery, 306 S. Main Street, through October 22, 2016. The WSG Gallery is open Tuesday-Thursday, noon–6 pm; Friday-Saturday, noon-9 pm; and Sunday 12-5 pm. For information, call 734-761-2287.

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Review: Re: Formation at the Ann Arbor Art Center


Progress

Nick Azzaro. Progress at the Ol' Smith Furniture Building, 2015, color photograph.

The Ann Arbor Art Center’s latest exhibit is the Re: Formation to help begin all reformations.

As the exhibit’s statement tells us, the display “examines this unique moment [in history] when ordinary people are declaring a la Peter Finch [from Sidney Lumet’s 1977 film Network]: “‘I’m mad as hell and I won’t take it anymore.’”

This is indeed the precise sentiment of this unceasingly clever exhibit of art.

For Re: Formation, the latest offering of Rocco DePietro and Gloria Pritschet, founders and directors of the Gallery Project, follows suit with this artful duo’s willingness to go where most other forums fear to tread. Ann Arbor's Art Center exhibit pairs with an earlier August incarnation of the show exhibited through the auspices of Toledo, OH’s Art Commission.

As the exhibit statement continues, “What is different at this time is that people who have been silent, or silenced, are standing up, speaking out, and mobilizing for needed change. Highly divergent in life styles with broad-ranging backgrounds, beliefs, and values, these individuals are expressing justifiable anger at the accumulation of horrific events and unrelenting injustices that characterize our current era.

“They are teaming up across race, gender, politics, and social status with empathy and compassion for their fellow human beings. Their actions are reestablishing belief in a positive future based on fairness, equity, and genuine possibility for all.

“Is this a tipping point, a moment for reform, or even a revolution? Or is it just another blip before capitulation and regression?”

These are, of course, highly potent questions. The very nature of this articulation will be considered by some as transgressive. But the paradox, of course, is that the very nature of the contention leaves motivation and avocation hanging equally in the balance.

Because of course, the definition of art itself is being challenged in Re: Formation. What is the purpose of art? Is it meant to merely have a decorative function? Or is it meant to provoke and challenge one’s preconceptions?

The Gallery Project is letting us know what they think, and towards this end DePietro and Pritschet have mobilized a formidable array of national, regional, and local talent whose outlooks cut across a whole host of social, political, and cultural viewpoints. There are (to borrow from a questionable cliché) no sacred cows here. And even if there were, it would be just as many of the artists on display who would want to devour it as there are others who would hold it sacred.

Local talents on display are Ann Arbor’s Heather Accurso, Morgan Barrie, Carolyn Barritt, Ruth Crowe , K.A. Letts, Melanie Manos, Michael Nagara, Sharon Que, Jesse Richard, Meagan Shein, Ellen Wilt and Richard Wilt. Dexter is represented by Tohru Kanayama; with participation by Ypsilanti’s Nick Azzaro and Jessica Tenbusch.

Among the works on display, Azzaro gives us a potent taste of Re: Formation’s disposition. His unframed “Progress at the Ol’ Smith Furniture Building” color photograph touches on all the ideas stated in the exhibition’s gallery statement.

There are, of course, Americans who to this day think of the Confederate States of America’s second Battle Flag as a sacred totem of historic significance with as much a symbolic value as the United States’ stars and stripes. Indeed, these stars and bars—in either its peace or war confederate configuration—are still part of the symbol (and considered a venerated heritage) in parts of the American south and officially designated in three southern states.

But the flag is also a highly potent symbol of a heritage that is itself emblematic of one of the most controversial aspects of our republic’s heritage. Representative of the defense of slavery as a political institution, the Dixie Battle Flag serves as a visceral reminder of attitudes that cut across economic, social, and cultural lines. As such it’s not uncommon to find the flag on private property such as flag pole or car—now often in a setting that is seemingly as much defiance as it is supportive.

Thus Azzaro’s photograph transgresses these values by vividly appropriating the symbol and subverting its erstwhile significance. Running across a dilapidated storefront with this flag in flames, “Progress at the Ol’ Smith Furniture Building” is a straightforward, aggressive recasting of social, economic, political, and cultural American expectations.

Just like many other artworks on display in this highly emotionally charged exhibit, if Azzaro’s “Progress at the Ol’ Smith Furniture Building” isn’t a Re: Formation of American expectations, it’s hard to imagine what might be.


John Carlos Cantú has written on our community's visual arts in a number of different periodicals.


Re:Formation will run through October 8, 2016, at the Ann Arbor Art Center, 117 W. Liberty St. Exhibit hours are 10 am to 7 pm, Monday-Friday; 10 am to 6 pm, Saturday; and noon to 5 pm, Sunday. For information, call (734) 994-8004.

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Interview: Mark Mothersbaugh on Pee-Wee Herman, Thor, and America's ongoing de-evolution

Mark Mothersbaugh and Devo

Devo, with blue hats, 2010. // Solo, no hat, 2016.

Mark Mothersbaugh is best known for his indelible contributions to pop music as the frontman of Devo, but his work with the darkly humorous New Wave group represents just a fraction of his diverse artistic output. Since the late '80s Mothersbaugh has composed music for hundreds of movies, TV shows, video games, and commercials. His visual art includes thousands of pen-and-ink postcard-sized drawings, rugs, sculpture-like musical instruments, and eyeglasses. This broad body of work, including the music and early music videos he created with Devo, is the subject of a new traveling museum exhibit, Mark Mothersbaugh: Myopia. The exhibit currently is not scheduled to stop in Ann Arbor, but in a way we'll be getting something even better. Mothersbaugh will appear at the Michigan Theater on September 29 for the Penny Stamps Speaker Series, engaging in conversation with Adam Lerner, who curated the Myopia exhibit and wrote the accompanying book.

In advance of his Ann Arbor appearance, Mothersbaugh chatted with Pulp about maintaining a sense of subversiveness despite corporate interference, his enduring friendship with Pee-Wee Herman creator Paul Reubens, and Todd Rundgren's enviable fashion sense.

Q: You'll be in conversation here at the University of Michigan with Adam Lerner, who curated the new retrospective exhibition of your work and edited the accompanying book. As you've had these opportunities to look back on your work recently, have you had any new realizations about your evolution as an artist over time?

A: [Laughs.] You know, yeah. You do pick up information along the way of being a human, I've found. To me, when I walk through the show ... it's kind of interesting to see what things are the same and what things never change. When I look back at the arc of all my visual art, I can say, "Well, in a way it's permutations on a theme." It really goes back to when I was at school at Kent State. I hated public school. The first 12 years of my life in school were horrid. I was at odds with other students, with the teachers, with everybody. It was just totally unpleasant and I almost ended up at Kent State on a fluke, but it turned out to change my life in a lot of ways. I gained a respect for education, among other things, and I just loved having access to tools that I never had access to before ... There was very limited art teaching in public schools in the '50s and '60s, so it was kind of this amazing world that got opened up to me when I all of a sudden found out about all the things you could do, all the empowerment that came with being in college. I loved it.

But at that time period, I was there for the shooting of the students at Kent State. We had all joined [Students for a Democratic Society] and we were going to help end the war in Vietnam and then things took a dark turn. ... That was in my sophomore year, and [I was] questioning that. I was collaborating for about a year before that with a grad student that was an artist at Kent State named Jerry Casale. Questioning what we'd seen, we decided that what we'd seen was de-evolution, not evolution. I understand that there's different ways for artists to evolve and mature and to fall apart or to build. I think in my case, I think my life as an artist has always been kind of seen through the eyes of someone that was always kind of hopeful, but paranoid at the same time. Or worried about it. Hopeful, but concerned. We saw de-evolution as a vehicle to talk about the things that we were concerned about on the planet, and I feel like my work has been sort of permutations on that theme.

Even kind of shifting into the belly of the beast and moving into Hollywood and scoring films and television, between Devo kind of slowing down at the end of the '80s, I started doing gallery shows. I did about 125 or 140 shows at mostly smaller pop-up galleries and street galleries, just because being in Hollywood made me distrustful of organized entertainment, so to speak. I've found all the smaller galleries to be, a high percentage of them, filled with authentic people that loved and were concerned about art and reminded me of what it was like to be in Devo when we were starting it. We thought we were doing an art movement. We thought we were doing Art Devo. We were like an agitprop group who worked in all the different mediums and were spreading the good news of de-evolution around the world. That was our original goal.

When we signed with Warner Bros. and Virgin Records, they kind of did as best a job as they could of shoving us into a little box that they could understand. ... Even in the late '70s, it was a struggle to convince them to let us make our short films. They had no idea why we wanted to make films with our songs. There were so many things that were a struggle that were needless. As Jerry would say, we were the pioneers who got scalped. But it was like the early days of people recognizing artists that put ideas in front of the actual techniques that they used. A technique was just a vehicle to help you solve a problem or create a piece of art. Being a craftsman was less necessary than ever before in our culture.

Now it's totally amazing how far it's gone. Kids that have ideas now about art, they don't have the barriers that we had or I had. The Internet is such an amazing, wonderful gift and tool for kids. I'm so jealous I'm not 14 right now. I watch my kids – they're 12 and 15, and I watched them make little movies on an iPad when they were even younger. It's totally transparent to them and they're laughing and running around the house. They're making a movie like a little kid would make, but they don't even know that 30 years ago – was it 30? '76, that's like, what, 40 years? Jesus. Forty years ago. It took a year of work first to make the money to pay for $3,000 worth of material and then to find time in editing bays where we could go in and make our seven-and-a-half minute film. And it's not just my kids. It's all over the world. Cell phones and iPads, things like that, are so inexpensive now that you see kids in the Amazon playing with this stuff, taking pictures of things around them and making music on iPhones. You not only don't have to own a guitar or a piano or a set of drums. You don't even have to know how to play it. My kids found this app where they could play drums by just making drum sounds into their phone and it would translate that into one of 30 different drum kits. ... Art has become so democratic. On some levels it's astounding. Anyhow, I don't know how I got to that after you were asking me about my art, but there you go. That's the danger of talking to me after a cup of coffee.

Mark Mothersbaugh

Mark Mothersbaugh, 1964 –Monument to the Conquerors of Space, 2012, ink jet on paper.

Q: That's okay. It was an interesting answer. I want to ask you a little bit more about the concept of de-evolution, since that was of course so important to the formation of Devo. How has that concept played out for you as time has gone along? Do you see de-evolution continuing to play out? Is that concept still as relevant to you as when you were younger back in the '70s?

A: I think all you have to do is look at this current election season in the U.S. It's like Idiocracy has arrived, for real. It's not even ironic or funny anymore. It's reality. It's kind of impressive and depressive at the same time, because we were never in support of things falling apart or the stupidity of man getting the upper hand. We just felt like, if you knew about it and recognized it, you could be proactive and change your mutations carefully, choose them on purpose instead of just letting them be pushed on you and accepting them.

Q: I want to ask you about a couple of more recent projects. You most recently scored the new Pee-Wee Herman movie. Did Paul Reubens bring you back in on that project personally, and did you guys remain in touch in the decades since you worked on Pee-Wee's Playhouse?

A: It's kind of funny. ... Right when he was first creating the Pee-Wee Herman character, we'd already met. This was '70 – I don't know what, '70-something – and my girlfriend at the time, her parents, her mom was instrumental in starting a comedy group out in Los Angeles called the Groundlings. Her name was Laraine Newman. She was one of the original cast members for Saturday Night Live. She would take me to the Groundlings and I saw Paul while he was working on developing this character. We kind of knew each other and he had asked me to do his first movie, Pee-Wee's Big Adventure, but I was so deep into Devo and we were touring. I didn't do Pee-Wee's Big Adventure, but he called me up after that and said, "Well, okay, how about now? Would you do my TV show?" It just happened to be that Devo had signed a bad record deal with a record company that was going bankrupt. We were just like rats on the Titanic, along with about 20 other bands that were just sitting on the bow. It seemed like the perfect time to work on a TV show.

I'd been in this situation where I was writing 12 songs, rehearsing them, then go record them, then make a film for one or two of the songs and design a live touring show, and then we'd go out on tour and a year later we'd come back and write 12 more songs. When I started doing Pee-Wee's Playhouse they would send me a three-quarter-inch tape on Monday. Tuesday I'd write 12 songs. Wednesday I'd record them. Thursday I'd put it in the mail and send it to New York, where they were editing the show. Friday they would cut it into the episode of Pee-Wee's Playhouse for that week. Saturday we'd all watch it on TV. Monday they'd send me a new tape and I'd do the process over again. I was like, "Sign me up for this! I love the idea of getting to create more and write more music as opposed to spending all my time sitting around in airports waiting to get to the next venue."

So now, all these years later, [Reubens and I] have stayed friends. He's probably the only guy – other than my mom and dad, who are both passed away now – but he was the only other person who remembered every one of my birthdays and sent me something. That was kind of nice, even if we didn't see each other all the time. So we stayed friends and when this came up, it was kind of like coming around full circle to get to work with him again. I ended up recording the London Philharmonic in Abbey Road, which has kind of turned out to be one of my favorite studios. I've done maybe a dozen movies or so there. And I don't know if you saw the movie or not, but he does a pretty good job of looking like Pee-Wee did 40 years ago.

Q: He does, yeah. It's surprising. You're also scoring the upcoming Thor sequel. How did you get involved on that project and how much work have you done on it so far?

A: That's an odd one for me to talk about, and the reason is because I just happened to casually mention it in Akron. I was reminded that I had signed an NDA, a non-disclosure agreement, with Marvel, and most of the time what people are concerned about is they don't want you to give away the plot of the film. They don't want you to give away any spoilers or tell them any of the details of the movie before it comes out. Well, Marvel quickly picked up on that I had mentioned I was working with Taika Waititi, who is the director. I happen to really like his work. Somebody asked me if it was Thor and I said yes, and they reminded me that I'm not allowed to talk about the movie. So I either am or I am not working on a movie with this guy. He had a lot to do with attracting me to the project just because his movies are super-creative. I really liked his new movie, Hunt for the Wilderpeople. Musically, it's really creative. That's what really caught my interest.

Q: You've done so many different scores over the years, and you mentioned how much you enjoyed that way of working. What appeals to you about that kind of work? How much creative limitation do you feel that kind of work imposes on you and how do you respond to that limitation?

A: Much less than when you're in a band. The first couple albums with Virgin and Warners were great. They signed us just because they wanted the bragging rights of, "Brian Eno paid for this record to be recorded. David Bowie hung out with them in Germany the whole time they were recording it." [Bowie] had called us "the band of the future" in Melody Maker back before we had released anything, just based on tapes we had managed to get backstage to him while he was playing keyboards for Iggy on a tour back in '77 or '76. Where was I going with this story?

Q: I was asking you about creative limitations.

A: Yeah, the first couple albums they left us alone. Then we unfortunately had a radio hit and Warners then looked at us as gold. They had made a bunch of money off of us and then they started showing up at our rehearsals and our recording sessions. We'd be working on something and then some guy would pop up with a mullet and go, "Hey, do anything you want on this record, you guys. Feel free to do whatever you want. Just make sure you put another 'Whip It' in there!" And it changed our whole relationship with the recording industry, because where we enjoying being slightly anonymous and our feeling was that we were able to be kind of subversive, all of a sudden we had all this pressure and people commenting on our choices.

On that album that they were coming to listen to, we had done a cover version of "Working in a Coal Mine" and they fought to take it off the record. The record company pushed it off of our album. So we gave it to some movie called Heavy Metal, because we thought, "Oh, we're going to get a free ride with all these heavy metal bands when they put out their album. Our little weirdo song will get a free ride with Van Halen." We thought that was funny. Then that turned out to be the song that went into the top 20, so we pulled all these lame heavy metal songs along for a ride, which the joke was kind of on us. Then Warner Brothers panicked because right as they were about to release our new album, we had a record that was in the charts playing. They freaked out. They pressed singles with "Working in a Coal Mine" on it and stuck them inside the album as an afterthought. They just did the most nincompoop things.

So working in film and TV, you're much more anonymous as a composer. There's not a magnifying glass on you and you have so much more freedom. Pop music back then is the same as it is today. From song to song the variation is very small. It's like the fashion industry. There's like 50 pairs of the same jeans coming out from different manufacturers. The label's a little different, and some of them have a stitching thing where they put a loop in them, and then somebody else has one button that shows at the top of the pants, and then somebody else has a pocket that zips shut or something. But they're all exactly the same. It's all the same stuff. Pop music is like that to me and still is. So when I went into working on Pee-Wee's show, it was a whole different world. I could do punk hoedown music on one episode. I could do South Sea Islands goes into Ethel Merman with Spike Jones stylings in it for the theme song for the show. It was all wide open and I loved that so much, coming into this world now where you have such a wide palette. In so many ways it's superior. For me, I always had two brothers and two sisters, and Devo had two sets of brothers. So the idea of collaboration was always a part of my art aesthetic. I always liked to have people to collaborate with. So having a director that has ideas, and he tells you what he's trying to do with his film and you help him see that finally or you help him hear it, is very satisfying to me.

Q: You mentioned the broad range of creativity you were able to express through something like Pee-Wee's Playhouse. How do you manage to still express that broad range of creativity, or express that subversive element you mentioned earlier on with Devo, in some of the more conventional movies you've done, say a Last Vegas or something like that?

A: There's really super-literal ways to do that, if you have something you want to say or you want to talk about. Subliminal messages are so easy and nobody pays attention to them. [Laughs.] It's really funny. I remember the first time I was doing a Hawaiian Punch commercial. It was my first commercial and I was kind of not sure how I felt about doing TV commercials, but I liked the idea of being in that arena. It needed a drumbeat and I put, "Choose your mutations carefully." [Imitates drumbeat.] Bum-buh-buh-bum, bum-buh-buh-bum. And Bob Casale was my longtime engineer and coproducer on all this stuff. I remember we were in a meeting with Daley and Associates, the ad agency that was representing the commercial. We played the song and in this room I'm hearing, "Choose your mutations carefully." I'm looking at a guy over there tapping his pen on the table and as soon as the commercial ends I turn bright red and Bob Casale looks at me like he wants to kill me, like we're going to be in so much trouble. And the guy is tapping his pen and as soon as this commercial ends he goes, "Yeah, Hawaiian Punch does hit you in all the right places!" He just shouts out the main line from the narrator at the very end. We just look at each other and I'm like, "It's that easy?" We did it for years and then I got caught by a picture editor who said, "I know what you did." He called me out. He said, "I know what you're doing. You should take that out." I think I put "Question authority" in something like a lottery commercial or something, so this guy made me take it out. But the ad agencies never called me on it. And I even talked about it in articles before, and I still get hired by ad agencies to do commercial music. So they must not really care.

Q: So you haven't stopped that practice then?

A: Well, it depends. You have to have a reason to do it. Usually the more sugar that's in something, the better the chance that I'm going to say "Question authority" or "Sugar is bad for you." That's one I've done a couple of times. It's easy to do. They're easy to find, too. You can find them if you know which commercials you're looking for. You can look them up. And you hear it, too. Once you know that it's there, then you hear it. If you don't know it's there, your mind doesn't want to make it happen. It just goes in there like malware. What's the opposite of malware? What if it's there to help you out? I guess that's an antibiotic. It's like a covert antibiotic.

Q: A probiotic?

A: Yeah, probiotic. That's it! It's a probiotic.

Q: You certainly have plenty of non-Devo work going on and have for a long time, but Devo also still gets out there and tours from time to time. How do you feel about the band's role in your life these days?

A: I only have one really big problem with the band, and that is that we still play as loud as we did when we were onstage in Central Park or at Max's Kansas City or whatever that place was that we played in Ann Arbor. I think it was a bowling alley. I can't remember. It was some stage where it had a proscenium around it that looked like a TV screen. ... What I remember about that night also ... is that Todd Rundgren had shown up to see the band and he had a suit made out of tan oilcloth plastic. I was like, "How did he get that done? That is so awesome!" I remember being so jealous of this suit that Todd Rundgren was wearing. While we were talking I just kept staring at his suit the whole time and then looking around to see if I could tell if it was possibly a commercially made thing, which it wasn't, I'm sure, in retrospect. But it was the first time I'd seen a tailored suit made out of plastic. [Mothersbaugh likely recalls Devo's 1978 show at the Punch and Judy Theater in Grosse Pointe Farms in 1978, which coincided with a Rundgren show in Royal Oak.]

Q: You were saying, then, that today your only problem with the band is that you play as loud as you did back in the day?

A: Yeah, we play so loud and I have tinnitus. It's hard for me to go play 10 shows in a row with Devo and then go back to my studio and try to listen to the woodwinds from an orchestra. It takes me like a week or so for it to calm down enough that I can go back to work. It's not worth the tradeoff for me to go deaf just so I can play 50 more Devo shows, to be honest with you. We'll do one here and there. We did a benefit earlier this year. Will Ferrell talked us into it. It was like the worst thing for me because I'm standing onstage and they're wheeling all these drummers out onstage. Part of the thing was a joke that they had 12 drummers all at once, so not only did they have my drummer, but Mick Fleetwood was onstage and Tommy Lee was onstage. They were all playing simultaneously, like a dozen drummers, the Chili Peppers drummer and all these. I'm standing there going, "This is the worst thing that could have possibly happened." I went home from that and it was like gongs were going off in my head. So that's the thing that makes Devo where I have to draw a line. I can't do a big tour again.

Q: So if you're going to be onstage these days you'd rather be doing something like you will be here in Ann Arbor, where you're just having a quiet conversation onstage.

A: Preferably. Yeah. That's totally different. And all I ask is that people in the audience ask questions. Speak clearly.


Patrick Dunn is the interim managing editor of Concentrate and an Ann Arbor-based freelance writer whose work appears regularly in Pulp, the Detroit News, the Ann Arbor Observer, and other local publications. He exercised considerable restraint in asking Mark Mothersbaugh about anything other than Pee-Wee Herman.


Mark Mothersbaugh will appear at the Penny Stamps Speaker Series Event, presented by the Penny W. Stamps School of Art & Design at the Michigan Theater, 603 E. Liberty, on Thursday, September 29 at 5:10 pm. Free of charge and open to the public.

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