Ann Arbor Art Center’s Sanctuary exhibition features some pieces that focus on the meditative aspect of the titular concept, but other works confront the “double-edged sword” of what "sanctuary" means, lending to the gallery’s successful interpretation of a broad theme.
Featuring work from 15 artists from Ypsi Alloy Studios, the show is described by the gallery as:
Donita Simpson is racing to record and archive images of the Detroit art scene’s most important and enduring artists as she writes the first draft of the city’s contemporary art history. A generous selection from the award-winning portrait photographer’s years-long project is on view in Context Is Everything at Connections gallery in the University of Michigan's North Campus Research Complex.
Wilt originates from Pittsburgh, PA, but moved to Ann Arbor in 1949, where she has been active in the arts community since. She attended the University of Michigan, where she obtained both her BFA and MA from the Stamps School of Art & Design.
The Stamps gallery has gathered an impressive collection of Wilt’s work, highlighting her importance in the community. Collectors have loaned the gallery many of the works, allowing a rare glimpse into works that have been in private collections for decades. The gallery space itself is opened up, allowing for the inclusion of “over 50 carefully selected works from personal and private collections that highlight Wilt’s artistic contributions to Southeast Michigan.”
See Through: Windows and Mirrors in Twentieth-Century Photography at the University of Michigan Museum of Art focuses on one of the most thought-provoking conundrums of art photography.
Curated by Jennifer Friess, the exhibit pivots on her observation that there’s a disjunct between “the choices photographers make when constructing their images and, in turn, the manner in which we -- as active viewers -- see [their] photographs.”
Drawing from one of the preeminent collections of photography in the country, Friess has crafted one of the most provocative exhibits of art photography to be mounted at the museum in this last quarter-century.
As curator of the Billy Ireland Cartoon Library & Museum (BICLM) at Ohio State University, Jenny Robb may have one of the coolest jobs in the country. With its current holdings of original cartoons, books, manuscripts, and comic strips in the millions, the BICLM is the largest cartoon art library in the world. Started in 1977, the library is primarily a research collection for American cartoon art, but with the addition of three exhibition galleries in 2013, the BICLM is now a destination for comic fans as well.
After graduating with a master’s degree in museum studies from Syracuse, Robb eventually landed at the Cartoon Art Museum in San Francisco in 2000. In 2005, she arrived in Columbus where she spent six years under the tutelage of the BICLM’s founding curator, Lucy Caswell, before assuming the role after Caswell’s retirement in 2011. Robb is an expert on political and historical cartoons, and a firm believer in using cartoons to teach history which can be seen in The Opper Project, a collaborative effort between the BICLM and the History Teaching Institute at OSU to provide lesson plans, cartoons, and other materials online for teachers.
Robb will be the keynote speaker on Friday, June 15 at A2 Inkubate, the pre-conference of the Ann Arbor Comic Arts Festival (A2CAF), where she will discuss the issues faced by institutions and artists in collecting and preserving their art both on paper and digitally. On Saturday, June 16, she’ll be hosting “Stories From the Museum” at A2CAF where attendees can hear stories about the BICLM and get an up-close look at items from the collection.
Robb was kind enough to answer some questions via e-mail for Pulp ahead of the festival.
What if Cliff's Notes had Cliff's Notes?
Mya Gosling's Good Tickle Brain is a web-based comics series that reduce Shakespeare's works to three panels. Named after a Falstaff line from Act 2, Scene 4 of Henry IV Part 1 -- "Peace, good pint-pot. Peace, good tickle-brain" -- Gosling's stick-figure interpretations of ol' Will's works have garnered acclaim across the web for their wit, particularly her "Which Shakespeare Play Should I See?" flowchart, which has allowed her to transition from being a library cataloger to a full-time comic artist.
Gosling has expanded her focus to include Keep Calm and Muslim On, written by her friend Andrea Annaba, and Sketchy Beta, the world's only rock-climbing comic strip, as well as three-panel interpretations of many other plays and movies. But the website's namesake Shakespeare strip is when I first discovered Gosling's work during last year's Ann Arbor Comic Arts Festival (A2CAF). My kids fell in love with her The Complete Works of Shakespeare in Three Panels book, which inspired them to go on and dive deep into the Bard's full catalog of plays as well as the film and graphic novel versions.
Gosling will be at this year's A2CAF festival June 16 & 17 at the downtown branch of the Ann Arbor District Library, and I emailed with her about all things three-panel Shakespeare.
The red walls grabbed my attention as soon as I entered the exhibition and the large text on one begins: “For most historical African objects in museum collections, the artist’s name is unrecorded.”
The artists’ names were rarely recorded, because, as the curators of UMMA's Unrecorded: Reimagining Artist Identities in Africa point out, the objects were considered "artifacts" rather than "artworks."
Organized by Allison Martino, the Andrew W. Mellon Curatorial Fellow from 2016-2017 and Laura De Becker, Helmut and Candis Stern Associate Curator of African Art, the exhibition asks the viewer to question why these omissions are a common occurrence in museums. The 19th-century practice of “collecting significant objects to bring home” informed the Euro-American imagination through “the kinds of objects they acquired, as well as the information they chose to record.”
Paintings and public sculptures by prominent contemporary artist Allie McGhee abound throughout Detroit. His elegantly gestural Night Rhythms (1991) can be seen at the Detroit Institute of Art. The Michigan-Cass Avenue stop on the People Mover features his work, and right now, a small but exquisite sliver of his decades-long body of work, Cosmic Images 2000, is on view at the Rotunda Gallery in Building 18 of University of Michigan's North Campus Research Center in Ann Arbor through August 31.
McGhee was born in Charleston, W.V., but soon moved to Detroit, where he attended Cass Technical High school. He completed his undergraduate work at Eastern Michigan University in 1965. His early paintings and sculptures were figurative and even as he has moved toward abstraction, his work has retained the gestural sweep of his unseen arm.
On June 12, 2016, 49 people died and 53 others wounded when a gunman opened fire at Pulse nightclub in Orlando, Florida. It was then the largest mass shooting by a single person in American history.
Gutoskey has lived in Ann Arbor for many years, and he received his MFA from the University of Michigan’s School of Art and Design and has lectured at the University of Michigan on different aspects of costume design. Now he runs his own printmaking studio in Ann Arbor, all the while exhibiting his work at galleries across southeast Michigan and beyond. Gutoskey’s subtle, mixed-media works are filled with color, arresting images, and a deeply introspective quality. I spoke with him about 49 Elegies, his work in general, and the importance of activism in art.
Vivid, biomorphic expressions take imaginative turns in Sara Adlerstein’s Ecologies, my true colors at downtown Ann Arbor’s WSG Gallery.
Adlerstein’s mixed-media Ecologies exhibit features biologically themed art crafted largely in dramatic three by four feet proportions. Her all-heart artworks are abstractions based on realism featuring nuanced, organic leitmotifs.
An applied aquatic ecologist and current faculty member at the University of Michigan School of Natural Resources and Environment, Adlerstein hasn’t pursued formal training in the arts. Rather, she says she’s has been painting for as long as she’s been a scientist. “Art and science belong together as naturally as air and water,” Adlerstein wrote in her artist's statement