Art is popping up at Liberty Plaza that aims to expand the reach of creativity in our community. The 2015 inaugural POP•X Festival, organized by the Ann Arbor Art Center, will run from Thursday, October 15 through Saturday, October 24, 2015. This 10 day visual arts festival will include nine 10’ x 10’ structures or “pavilions,” which will each house a collection of works focused around various central themes. The work in each pavilion is created by one artist or a collaboration of artists. Artists will be on site throughout the event and many will be facilitating interactive activities.
Here are the artists and clues to what you’ll find inside their pavilions:
- Chazz Miller: butterflies, transformation and vibrancy.
- Nick Azzaro: familiar faces.
- Ann Arbor Women Artists (AAWA): picnic wishes.
- The Girls Group: home.
- Joe Levikas: the dinner guest.
- Brenda Oelbaum: bag your troubles.
- Kate Robertson: voyeuristic spaces within spaces.
- Nicholas Zager: an interior landscape for the senses.
- The ninth is the Ann Arbor Art Center’s information pavilion.
This event is packed full of art opportunities for the whole family. Stop by anytime on Thursday, October 15 to paint a butterfly with artist Chazz Miller. Then watch for these butterflies to appear around town. Other events throughout the 10 day festival will include Pop-Up Theater, Art for Innovators (a lunchtime discussion series at AADL), Back to the Future Day, Nerd Nite artist talks, live music (daily from 5–7pm), Family Drop-In: Cardboard Challenge, and special activities geared particularly towards kids. And, sign up to participate in one of the Pop-Up Picnics on Sunday, October 18 with local “celebrity” mystery guests and conversation cues provided by CivCity.You can see the whole lineup on the POP•X calendar.
Anne Drozd is a Production Librarian at the Ann Arbor District Library.
POP·X runs Thursday, October 15 – Saturday October 24, 2015 from 10am 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.
First Fridays Ypsilanti, the monthly art-walk that invites locals on self-guided art tours through the city, generated buzz this September using bees as a theme for artist inspiration. In honor of Ypsi’s third annual Festival of the Honey Bee, local cafés, restaurants, and galleries became temporary homes to some bee-autiful art pieces, ranging from the truly enormous to the wonderfully weird.
It seems as if no work was too big or too small, and no medium too strange for this art crawl, and the result was a veritable explosion of artwork branching out in unexpected directions from the unified bee theme.
Some artwork hung traditionally in frames, like the pieces on the walls at Beezy’s and Café Ollie, which ranged from collages of paper bees exploring paper leaves to photographs of real bees swarming in their hive.
Some artwork hung from the ceiling by string, like the bizarre (bee-zarre?) mixed-media piece “Lady Bug Lady,” a doll covered in glitter and spots, connected to the theme by a set of sparkly antennae peeking through the doll’s purple hair at the 22 North Art Gallery.
At the Bona Sera Café, a massive, lifelike black-and-gold papier-mâché bee looked like it had just flown in and settled on the brick walls.
And, of course, the art crawl wouldn’t have been complete without some truly solid bee puns, like the whimsical piece titled “Let’s Bee Friends.”
The bee-related installment came down at the end of September. Plan your visit for the next First Friday on November 6th.
Nicole Williams is a Production Librarian at the Ann Arbor District Library and is terrified of bees.
Here's a great article by Santi Elijah Holley in Tin House about Ann Arbor's own Literati Bookstore, which opened in 2013 and has been busy bringing indie bookstore culture back to downtown ever since.
From the article:
"Literati is not only a tribute to Ann Arbor’s rich history of art and literature; they have taken inspiration from the city’s past, in order that they might contribute to its future."
Composer John Luther Adams visits Ann Arbor this week. Born in Mississippi and living in Alaska, Adams' compositions are heavily rooted in the natural world and unusually evocative of environmental sounds. His orchestral work Become Ocean, commissioned by the Seattle Symphony Orchestra, was awarded the 2014 Pulitzer Prize for music and won a Grammy in 2015.
Adams will give the Penny Stamps Lecture this Thursday at 5 pm at the Michigan Theatre, and will then attend the University Symphony's 8 pm concert, including a performance of Become Ocean at Hill Auditorium. Both events are free and open to the public. YouTube commenters describe Become Ocean as "Simply Beautiful," "Basically a giant pentatonic scale," and "way to long" (sic). But you don't have to take it from them! Make time for this enveloping, critically-acclaimed, and unparalleled work that is best experienced in a great hall with a great orchestra.
Eli Neiburger is Deputy Director of the Ann Arbor District Library.
John Luther Adams delivers his Penny Stamps Lecture at the Michigan Theatre on Thursday, October 15 at 5 pm. The University Sympony's performance follows this event at 8 pm at Hill Auditorium. Admission is free to both events.
The University of Michigan’s Department of Musical Theater presents Green Day's American Idiot with lyrics by Green Day member Billie Joe Armstrong based on a book by Armstrong and film director Michael Mayer.
Directed by U-M Associate Professor of Musical Theater Linda Goodrich, with music direction by Assistant Professor of Music, Jason DeBord, this 2010 Tony Award-winning sung-through stage adaptation of the band’s 2004 multi-platinum, Grammy Award-winning punk rock opera of the same name is a searing concept album-cum-stage musical indictment of post 9/11 American political culture as witnessed by three lifelong friends - Johnny, Will, and Tunny - grappling with meaningless war and disaffected social malaise before each embarks on a roller-coaster ride of self-discovery.
The New York Times’ Charles Isherwood called American Idiot a “thrillingly raucous and gorgeously wrought Broadway musical …. [jolting] you back to [a] dizzying roller coaster of young adulthood; that turbulent time when ecstasy and misery almost seem interchangeable states, flip sides of the coin of exaltation.”
Amy Cantú is a Production Librarian at the Ann Arbor District Library.
Performances will be at the Lydia Mendelssohn Theatre, October 15-25. For tickets and additional information visit the School of Music, Theater, and Dance website.
Bonnie & Clyde opened the Dexter-based Encore Musical Theatre Company’s eighth season on Friday, October 2, and will continue through October 25.
The musical follows star-crossed lovers, Bonnie Parker and Clyde Barrow, as they fall in love, rob banks, and kill a few people on their way to notoriety in Depression-era Texas. Frank Wildhorn’s compelling score - a mix of rollicking gospel, blues, and ballads - accompanies the outlaws’ reckless thrill-ride.
The musical Bonnie & Clyde has a special connection to Encore’s co-founder, Dan Cooney, one of the original cast members of the Broadway production. Director Ron Baumanis, and music director Tyler Driskill, reprise their work following Ann Arbor Civic Theater’s excellent Bonnie & Clyde production last year. This time around they’re accompanied by Wilde Award Winner Mahalia Greenway (Bonnie) and American Idol contestant Adam Woolsey (Clyde), with Peter Crist (Buck Barrow) and Elizabeth Jaffe (Blanche Barrow).
Amy Cantú is a Production Librarian at the Ann Arbor District Library.
Bonnie & Clyde runs through Sunday, October 25. For tickets, call The Encore Theatre Box Office at 734.268.6200 or visit the website.
It takes exceedingly broad shoulders to craft an art that suits a specific time and place. This is because art is, despite itself, time specific. Art, however, also paradoxically seeks a timelessness that makes the work somewhat ephemeral to its actual situation. And that in turn makes grappling with the work's creativity a tricky proposition.
Yet perhaps not so much with two artful events taking place in Ann Arbor through this Fall 2015 season. The University of Michigan Museum of Art's The Art of Tyree Guyton: A Thirty-Year Journey and the U-M Department of Afroamerican and African Studies Gallery DAAS What Time is It?: Tyree Guyton, New Work have teamed up to give us a keen sense of how this contemporary Detroit artist has managed to grab the zeitgeist of our time by the throat to show us a controversial reflection that not all Detroiters prefer as a mirror. Add its Ann Arbor angle-and the art of Tyree Guyton is a unique homegrown Southeast Michigan adventure.
As far back as the late 1980s, one of Ann Arbor's most courageous champions of modern art, the late-Jacques Karamanoukian, was enthused (although overwhelmed might be a better way to put it) about Guyton's work-as well as by extension, Guyton's grandfather, Sam Mackey.
Karamanoukian-whose Gallerie Jacques loft and Kerrytown Le Minotaur Gallerie-served up a steady diet of Surreal Art and Art Brut in the 1980s and 1990s, seemingly met his match with Guyton's audacious Detroit-based Heidelberg Project. And in this, Karamanoukian has proven to be much farther sighted than the city of Detroit itself. It's therefore to the credit of the UMMA that The Art of Tyree Guyton: A Thirty-Year Journey skillfully traces this undertaking.
Started in 1986, Guyton's Heidelberg Project is a remarkable example of environmental art whose social and political intent is so gripping, it effectively dominates its ground with a vivacity few other contemporary artworks can match. Located in Detroit's McDougall-Hunt neighborhood, the artwork's evolving intent has been to heighten awareness of the city's urban decay and the State of Michigan's benign neglect in caring for the its inner-district. But it also isn't exactly a way to make friends and influence people in positions of power.
Now if Guyton and Mackie had been intent on crafting some latter-day cathedral or modernist architecture, they might have been able to avoid antagonizing Detroit's officials. But as both The Art of Tyree Guyton: A Thirty-Year Journey and What Time is It?: Tyree Guyton, New Work both show us by example-this wasn't and isn't happening.
Because it's likely not so much the Heidelberg's intent that's drawn the ire of Detroit (after all, both the Coleman Young and Dennis Archer administrations have bull-dozed chunks of the project with a decade of vandalism taking care of many other buildings). Rather, it's the kind of art that's the real problem. Both Mackie and Guyton (the former by disposition and the latter by inclination) are proponents of one of Modernism's most controversial forms of Art Brut-or to borrow from Karamanoukian's favored and vastly telling term: Outsider Art.
Guyton's most serious offense-and one aided and abetted by his grandfather, Mackie-has been the playing of art rules by not playing the social rules. Sam Mackie's two 1992 untitled wax crayon on illustration board and crayon on oil cloth male portraits at the UMMA are prime examples of an Art Brut that's 100 percent inspiration and zero percent artifice.
They might be confused for the art of a young child, but this is also the magic in the crafting. These two roughly drawn pictures crafted in Mackie's 90s (he lived 1897-1992) are channeling pure inspiration and this is an aesthetic that can't be taught. Indeed, once lost it is seemingly impossible to retrieve; Picasso tried all his life. And it's this profoundly naïve insight that makes Art Brut such a powerful form of art.
Guyton, by contrast-and DAAS' What Time is It? shows us this with a choice 16 artworks-is infinitely more polished while also paradoxically retaining its outsider edge. If anything, what Guyton shows us in this remarkable primer is how painstaking it must be to maintain this sort of Brut naivety. He's still got it, so to speak, by studiously not losing it.
For example, 2015's mixed-media “The Twelfth Hour” at the DAAS Gallery fuses together a handful of found elements with an artful balance whose placement belies Guyton's rush of inspiration in pulling his compositional elements together. A piece of green rectangular wood set horizontally to represent the face of a clock, Guyton had painted (through four applications) numerals with two overlaid pieces of black and white wood for big and little hands breaking the work's interior visual plane behind overlapping patches of police security tape.
We need make only two observations: First, the clock's hands aren't pointing at twelve; and second, it's the eleventh hour that's cautionary. For as the work tells us by abstraction-with the title's timely assist-twelve is beyond the nick of time. Hence, given the roughness of its creation and appearance, coupled with its title, Guyton pictorially articulates a pungent political statement.
Going back momentarily to the UMMA's The Art of Tyree Guyton: A Thirty-Year Journey, it's this very lack of aesthetic compromise that raised the disdain of Detroit's political establishment. Guyton's Heidelberg Project is too uncompromising to stand on its own because we're not talking Venus on the half-shell, here.
As soon as Guyton began crafting his mixed-media environmental art with exceeding large found objects (obviously considered detritus by its opponents), he passed the bound of artistic delicacy. As Guyton's UMMA Thirty year Journey clearly shows us: the gloves were bound to come off with each found object nailed in place: Take Guyton's “House of Soul” with Motown vinyl LPs (torched in November, 2013) or “The Doll House” with its myriad plastic baby dolls stapled to the exterior (torched in March, 2014). Both houses-like the seven other environmental mixed-medias burnt in these last few years-could be perceived as eye-sores.
But they're not eye-sores. Like it or not, they're art. For Guyton has made them art-and by the reckoning of Marcel Duchamp; father of neo-Dada, which the Heidelberg Project is a clear example-it's the artist who decides what is art.
It's not what politicians think-nor what art critics think--nor citizens, for that matter. As Jacques Karamanoukian well knew before most of us were aware of its existence: The Heidelberg Project (with its long-range goal of being an art center, museum, and artists' colony) is not art for art's sake. It's art for everyone's sake. Tyree Guyton just happens to be Detroit's messenger.
John Carlos Cantú has written extensively on our community's visual arts in a number of different periodicals.
University of Michigan Museum of Art: The Art of Tyree Guyton: A Thirty-Year Journey will run through January 3, 2016. The UMMA is located at 525 S. State Street. The Museum is open Tuesday-Saturday 11 a.m.-5 p.m.; and Sunday 12-5 p.m. For information, call 734-764.0395.
U-M Department of Afroamerican and African Studies Gallery DAAS: What Time is It? Tyree Guyton: New Work will run through November 6. Gallery Dass is located at Haven Hall, Room G648. The Gallery is open Monday-Friday, 1 to 5 p.m. For information, call 734-764-5513.
At Claire Vaye Watkins’ reading on Wednesday, Sept. 30th at Literati Bookstore, the author summarized her book, Gold Fame Citrus, as being, “about the California drought, more or less." It also ties into what she classified as “two of her fascinations: nuclear waste repositories and mole people.” To be fair though, it’s more about environmental destruction, hope, and survival than it is about mole people.
In the book, a damaged couple who are eking out an existence in a wasted dystopian landscape take in a lost child, forming a little family. This is the catalyst for their decision to venture East into the shifting expanses of sand, where they will encounter more unknowns than they could possibly have anticipated.
This surreal and incredibly original book also comes with a drinking game! The official rules, as laid out by the author at the reading, are as follows:
Read the book.
Drink when you are thirsty.
This is the most sensible drinking game I have ever encountered.
For the Literati reading, Watkins selected “a deep cut” from within the novel, and shared that although the chapter is unnamed in the book, she originally titled it “Wasteland Wasteland Wasteland.”
Two things about her reading selection:
1) It held the entire standing room-only crowd completely captivated; I cannot remember a single cough or shuffle of feet.
2) It had a mole person.
Watkins is an assistant professor of English Language and Literature at the University of Michigan. Gold Fame Citrus has received many positive reviews, including ones from the New York Times and the Washington Post. If you missed the chance to see Watkins in person at Literati, you can check out her NPR interview and appreciate the story of her inspiration in her own words, and you really should. You can borrow Gold Fame Citrus, or Watkins’ 2012 story collection, Battleborn, at AADL.
Sara Wedell is a Production Librarian and fiction selector at the Ann Arbor District Library.
It is hard to believe, but true. Purple Rose Theatre Company in Chelsea is 25 years old.
The Theatre began in 1991 and its inaugural season included a play called Shoe Man by a new playwright: Purple Rose’s famous founder Jeff Daniels. The play won The Detroit News’ Best New Play Award; Purple Rose went on to become a leader in American regional theater and Jeff Daniels continued to write many more plays that premiered at the Chelsea theatre.
Local audiences should be excited! To celebrate its silver anniversary, Purple Rose kicks off its season with a brand new Jeff Daniels world-premiere comedy. Casting Session takes place in the world of professional theatre, as middle-aged rival actors Frank (Tom Whalen) and Ron (David Daoust) hilariously compete for the same New York City roles.
The play, directed by Guy Sanville, explores the humorous lengths actors will go to to get a part. Erika Matchie Thiede, a past Purple Rose apprentice who is making her professional debut in this production, rounds out the talented cast.
Tim Grimes is manager of Community Relations & Marketing at the Ann Arbor District Library and co-founder of Redbud Productions.
Casting Session performances run Wednesday - Sunday, through December 19. For information, visit www.purplerosetheatre.org or call 734-433-7673. Purple Rose Theatre Company is located at 137 Park Street in Chelsea.
George and Martha, the battle-weary duo made famous by Richard Burton and Liz Taylor in Mike Nichol’s classic Oscar-winning film, pay a month-long visit to Ann Arbor as Performance Network Theatre opens its season with Edward Albee’s Tony-winning play Who’s Afraid of Virginia Woolf? This fascinatingly intelligent play, which also won the New York Drama Critics Circle Award, will be directed by Suzi Regan.
Reviewing the 1962 premiere, the New York Times stated "Who's Afraid of Virginia Woolf? is possessed by raging demons. It is punctuated by comedy, and its laughter is shot through with savage irony.” Performance Network Executive Director John Manfredi states, “It’s a perfect start to our season. The dialogue, the games, the wit it’s writing at its best.”
Network veterans John Seibert and Sandra Birch play the disenchanted college professor and his unhappy wife who plan an intimate evening of cocktails, fun, and games with a naïve new couple on campus (Nick Yocum and Victoria Walters Gilbert). What begins with witty wordplay ends with a climax that still shocks modern audiences.
Tim Grimes is manager of Community Relations & Marketing at the Ann Arbor District Library and co-founder of Redbud Productions.
Performances of Who’s Afraid of Virginia Woolf? run Thursday - Sunday, October 1 - November 1, with previews October 1-8 and Opening Night on Friday, October 9. For information, visit www.pntheatre.org or call 734-663-0681. Performance Network Theatre is located at 120 E Huron St in Ann Arbor.