Pop-Up Patriarchy: "WORLD LEADERS" exhibition by Chanel Von Habsburg-Lothringen


Chanel Von Habsburg-Lothringen, Skin suits and saddle shoes makes a mamma want to rage, 2017, inkjet print on vinyl banner

Chanel Von Habsburg-Lothringen, Skin suits and saddle shoes makes a mamma want to rage, 2017, inkjet print on vinyl banner.

The University of Michigan Institute for the Humanities’ pop-up exhibition WORLD LEADERS showcases the work of photographer Chanel Von Habsburg-Lothringen. She has an MFA in photography from Cranbrook Academy of Art and a BA in social science and history of art from the University of Michigan. Currently based in Los Angeles, Von Habsburg-Lothringen has curated projects at Los Angeles Museum of Art, Detroit Design Festival, the Mike Kelley Mobile Homestead, and Cranbrook Museum of Art.

The exhibit consists of one large photograph, printed on a vinyl banner, and hung on the back wall of the common room, adjacent to three small, framed still-life photographs of presumably designer clothing. The exhibition announcement states that Von Habsburg-Lothringen’s newest series, Conditions, “continues to examine the position of the woman in neo-liberal society as both object and agent. It reflects on the slippage between aspiration and desperation in the face of the vanishing American Dream.”

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trustArt Gallery's "Studio Works" exhibit encourages community engagement


Studio Works at trustArt Gallery

Pyramid power: Eight artists are combining their talents for the Studio Works exhibition at trustArt Gallery in Ann Arbor.

The trustArt Gallery's Studio Works exhibition (Nov. 11-19) will display multi-media works by artists and designers who work in rented studios at the venue. The exhibit features works by Larry Cressman, Liz Davis, Elizabeth Barick Fall, Rose E. Gomez, Barbara Hohmann, Allen Samuels, Laura Shope, and Lissie Williams, and it also offers an intimate look into the studio space and how it relates to the artists’ practices and everyday environments.

In addition to the more common gallery exhibition, the added opportunity to see the artists’ studios and working spaces aims to create community engagement with the arts, according to trustArt Gallery's statement: “We are connected through our location and environment as we pass through the shared open space of our gallery: it provides an opportunity to intersect; to cross paths; a place for our studio works to be shared and reflected upon; a chance to interact with each other and the community.”

The opening-up of studios to the community will allow for many people to interact with art and art making in an expanded capacity. It allows unique insight into aspects of the creative process and creates a chance for discussion and dialogue between the artist and the community.

Featured artists/designers:

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Ann Arbor Art Center's "Millennial Pink" explores a generation through color


Millennial Pink

Pretty in pink: Chelsea Lee’s Kim Kardashian Mini Face Pillows and Carson Davis Brown’s photograph Mass_012 are part of Ann Arbor Art Center's Millennial Pink exhbitition.

What, exactly, is “millennial pink”?

This term is now used to identify the aesthetic of an entire generation, the often-reviled millennial. This generation is defined as being born between 1981 and 2001. Whether you love or hate millennials, the color pink, or the term “millennial pink,” this exhibition delves into many issues at the forefront of contemporary cultural discussion.

The Millennial Pink exhibition is comprised of multi-media arts and will be on display at the Ann Arbor Art Center through Nov. 4. Artists in the show explore a variety of themes, including “gender identity, pop culture, sexuality, politics, and shades of Pantone pink.”

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Technological Delineation: "Moving Image: Portraiture" at UMMA


Towards An Architect by Hannu Karjalainen at UMMA

Hannu Karjalainen, Towards an Architect, 2010, HD video, edition of 2/5+2AP. Borusan Contemporary, Istanbul. Photo courtesy of Galerie Nikolaus Ruzicska and Hannu Karjalainen.

Moving Image: Portraiture at the University of Michigan Museum of Art aims to address portraiture through the lens of contemporary media. As the third and final component of a series drawn from the Borusan Contemporary collection in Istanbul, including Moving Image: Landscape and Moving Image: Performance, each of the three artists included in this small exhibition uses technology to convey complex ideas, not only about the history of portraiture and representation but how technology can change our ideas of what constitutes portraiture.

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Fashion, Forward: "Looking Back: 20th Century Dress From the Historic Costume Collection"


Looking Back: 20th Century Dress From the Historic Costume Collection

Looking Back curator Jessica Hahn says fashion "is often a catalyst for the economy and the political situation of the times."

The idea that fashion is cyclical, and that “certain silhouettes repeat themselves with minor changes,” is not a new one. It is, however, an interesting starting point for thinking about articles of clothing throughout 20th century in America.

The exhibit Looking Back: 20th Century Dress From the Historic Costume Collection, curated by Jessica Hahn, can be seen at the Duderstadt Center at University of Michigan through October 6. The show displays a full range of garments from 1900 to 1999. The show posits that despite the use and re-use of certain styles and silhouettes throughout time, the textiles used and their production styles, as well as attitudes toward dress itself, changed drastically. The 20th century was an era in which fashion changed at a faster rate than ever before. There were a number of factors that contributed to this shift that are explored through the inclusion of objects and wall text.

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Shifting Ideals: "GLOSS: Modeling Beauty" at UMMA


GLOSS: Modeling Beauty at UMMA

Philippe Halsman, Halle, 1942, gelatin silver print. University of Michigan Museum of Art, Gift of Hans Neukomm, 1996/2.7, Photo © Philippe Halsman Archive.

GLOSS: Modeling Beauty is a thoughtfully curated exhibition that focuses on the impact of fashion photography on the history of photography. The show explores “the shifting ideals of female beauty” in American and European visual culture starting in the 1920s with the work of Edward Steichen. The exhibition examines not only fashion photography and images from advertising campaigns but features documentary photography by Elliott Erwitt, Joel Meyerowitz, and Ralph Gibson, captured images of women and mannequins in urban environments. Furthermore, artists James Van Der Zee, Eduardo Paolozzi, and Nikki S. Lee “employ the visual strategies of traditional fashion photography, while offering alternative narratives to mainstream notions of female beauty.”

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Rasa's Riverside Arts exhibition features South Asian-inspired multi-arts


Sangchen Tsomo

Sangchen Tsomo's figurative oil paintings mix Eastern themes with Western art styles. Photo courtesy Riverside Arts Gallery.

One component of the ongoing Rasa Festival can be seen through September 30 at the Riverside Arts Gallery in Ypsilanti. Riverside Arts Gallery’s lower-level space houses many large, vibrant, and gestural paintings, and geometric, mandala designs in ritualistic floor art known as rangoli, alpana, or kolam.

The show, Madhavi: Illusion’s Beer, which is a part of 2017’s Rasa Festival exhibitions, collectively focuses on the Navarasa (Nine Rasas). This can also be translated as “the nine moods,” which are various facets of Indian aesthetics. These facets include love/beauty, laughter, sorrow, anger, heroism/courage, terror/fear, disgust, surprise/wonder, and peace/tranquility.

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Variety Show: STAMPS's alumni exhibition "Ambiguities/Innuendoes? Go Fish"


Disney Room

A still from Alisa Yang's award-winning short film Please Come Again.

The 2017 University of Michigan Alumni Exhibition Ambiguities/Innuendoes? Go Fish features an eclectic collection of alumni works that engage, in varying capacities, with the terms “ambiguity” and “innuendo.” The annual exhibition allows STAMPS alumni to show their work. This year, work represented over 70 years of alumni from 1955 to 2016. This year, the exhibition featured juror Brian Kennedy, the president, director, and CEO of the Toledo Museum of Art.

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Multimedia Meditations: Ann Arbor Women Artists 2017 Summer Juried Exhibit


Ann Arbor Women Artists 2017 Summer Juried Exhibit

Left to right: works by artists Kathy Hiner, Bonnie Wylo, Susan Clinthorne, Kathy Kelley, Barbara Goodsitt, and Patricia Davenport.

The 2017 Ann Arbor Women Artists Summer Juried Exhibit illustrates the diverse talent in the Ann Arbor area. Though the name implies this nonprofit organization features women artists only, by 2008 the group included 10 men. The volunteer-run organization is now open to all artists 18 and older. Today, this local art group has over 300 members. In this year’s annual AAWA Juried exhibition, 46 artists have their work on display. The works represented are executed in a variety of media, both 2D and 3D.

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UMMA's "Victors for Art: Michigan’s Alumni Collectors -- Part II: Abstraction" makes the private public


Hans Hofmann, St. Francis

Left: Hans Hofmann, St. Francis, 1952, oil on canvas. Right: Artist unrecorded, Kota peoples, Mahongwe group, Gabon or Republic of Congo, Reliquary figure, late 19th century, brass, copper wire, wood.

University of Michigan Museum of Art’s recently opened Victors for Art: Michigan’s Alumni Collectors -- Part II: Abstraction is the second show in a two-part series that began in February with Part I: Figuration. The exhibition includes a wide range of art, from an Amish quilt by an unknown maker to modern and contemporary works by influential artists such as Pablo Picasso, Christo, Louise Nevelson, Robert Rauschenberg, Barbara Kruger, Jasper Johns, John Baldessari, and many more.

As the title suggests, the show consists of a diverse range of works collected by University of Michigan alumni. The contributors come from 70 years of graduating classes, displaying the long-standing, continuing impact of university alumni collectors on the global art world. UMMA states that the show “offers an unprecedented opportunity to view art that may have never been publicly displayed otherwise -- and most certainly, not all together.”

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