Brooklyn-based artist [http://valeriehegarty.com/home.html|Valerie Hegarty] is known for site-specific installations. For her American Berserk exhibit in the University of Michigan’s Institute for the Humanities Gallery, Hegarty created a rotting watermelon -- which isn't to say she saw the space and thought, "Hmm, this room screams, 'EXPIRED FRUIT.'" Rather, Amanda Krugliak, curator for Institute for the Humanities, suggests Hegarty’s works “speak to the morass, the schism, the cracked facade, and fruit rotten, the flowers drooping.” The tradition of representing fruit on the brink of putrefaction is long established.
We last saw [http://johnlilleyphotography.com|John Lilley]’s photography at the Kerrytown Concert House in June 2012. His John Lilley Photographs exhibition found the Dexter photographer using digital color notable for its exhilarating chromaticity as well as its remarkable penchant for detail.
“Simply put,” said Lilley at that time, “I make photographs because I see photographs.”
But as he later tellingly added in that statement, “I’m rarely attracted to the 'big picture.' Rather, my vision is almost unconsciously drawn to distinct designs, textures, and forms that occur as small subsets of the broader landscape. I’m fascinated by the myriad possibilities for abstract composition that exist in our world.”
All of which is to say that Lilley’s current Wandering Around … in black and white shows us that his monochromatic photography is easily the equal of his color work. Indeed, if anything, Lilley’s photographic self-discipline is as much (if not more) vivid than his color art.
The University of Michigan Institute for the Humanities’ pop-up exhibition [https://lsa.umich.edu/humanities/news-events/all-events.detail.html/421…|WORLD LEADERS] showcases the work of photographer [http://www.chanelvonhabsburglothringen.com|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.”
The [http://www.trustartstudios.com/|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 [https://www.facebook.com/trustArt-studios-709238372470689|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.
It turns out that if you make a large, wave-shaped luminary that complements your shiny green mermaid costume, a lot of people are going to stop you and ask whether you’ll take a picture with them.
When you set out specifically to participate in a unique community event, sometimes, you just say, "Yes."
It was a luminary-making workshop that made me add [https://wonderfoolproductions.org/ypsiglow|ypsiGlow] to my calendar. In the weeks leading up to the downtown Ypsilanti light-up dance party, [https://wonderfoolproductions.org|Wonderfool Productions] hosted drop-in GLOWorkshops at the [https://www.riversidearts.org|Riverside Arts Center] where community members were invited to come make luminaries and or costumes for the Oct. 27 event.
A sucker for learning new skills, I had attended one of the workshops simply interested in learning how to make a luminary. One of the artists asked me what I wanted to make as I began familiarizing myself with the materials and observing other workshop attendees. That’s when I told her; it was the first "yes" of this experience.
The last time we saw [http://ninaehauser.com|Nina Hauser]’s iPhone photography at the WSG Gallery was in May 2013. I was keenly struck at that time how her display illustrated the fundamental principle that the human element cannot be taken out of art irrespective of the technology used to make the work. The 22 photographs in that exhibit were marked by a remarkable technique and skill -- with both artful elements reflecting the “eye” implicit in the photographic image.
Hauser’s current exhibit at that same gallery, The Real World Is Not the Only World -- India Dreams, finds this local photographer immersed in her fascination with the culture of the Asian subcontinent -- and certainly sufficiently enough as to revolutionize her aesthetic.
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 [https://www.annarborartcenter.org/exhibitions/millennial-pink|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.”
[http://umma.umich.edu/exhibitions/2017/moving-image-portraiture|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 [http://umma.umich.edu/exhibitions/2016/moving-image-landscape|Moving Image: Landscape] and [http://pulp.aadl.org/node/360668|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.
|Thursday evening], world-renowned sculptor [http://christojeanneclaude.net|Christo], 82, told a huge crowd -- packed into the Michigan Theater to see him -- what might be the best, most succinct courtship story of all time.
Of his longtime partnership with Jeanne-Claude, with whom he collaborated on his massive art installations (and who died in 2009), Christo said, with a shrug, “I was very young, we make love, and we like each other. That’s all.” Moments later, he added, “She was very pretty.”
But Christo -- dressed in dark slacks, a collared white shirt, and a big-pocketed beige jacket that hung off his lean frame -- initially kicked off his Penny Stamps Speaker Series lecture with a few parameters: “I will answer all questions, but I will not talk about politics, religion, and certainly not about other artists. I talk about myself, my work, and anything that I can tell you about my work.”
“Human identity is built upon strong currents that are constantly changing, [over] ... a well-traveled riverbed of history.”
Detroit artist, gallerist, and thinker [http://www.adnancharara.com|Adnan Charara] knows a thing or two about art and about history, and in [http://ncrc.umich.edu/art/construct-noun|Constructs (Noun)], a colorful and comical exhibit of his recent paintings, he shows himself an able architect of identity, using bits and pieces of art history to create a whole that is greater than the sum of its parts.
Twelve large acrylic paintings from two different, but related, bodies of work form the substance of this beautifully installed exhibit, on view at the Rotunda Gallery in Building 18 of the University of Michigan’s North Campus Research Center until December 18.