Margaret Condon Taylor is not a typical photographer. The University of Michigan alumna gained a Ph.D. in psychology, which she currently still practices. So, in the spirit of Taylor's day job, the viewer may feel the need to ask probing questions about the photographs on display in An Accidental Photographer: Seoul 1969 at U-M's Institute for the Humanities Osterman Common Room, such as: What do they tell us? And why is the project “accidental”?
Although the title of the exhibition raises questions, one does not need to look far for answers.
The 95th All Media Exhibition marks the continuation of a tradition established in 1922 when the Ann Arbor Art Center was known as the Ann Arbor Art Association. There are 29 artists’ works on display through January 13, with a large portion from Michigan and others from surrounding areas including Illinois, Indiana, New York, Minnesota, Ohio, Pennsylvania, and Wisconsin. The Ann Arbor Art Center’s previous shows have illustrated its commitment to exhibiting an extensive variety of contemporary artwork, and the All Media show is no exception.
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.
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.
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.
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.
[http://umma.umich.edu/exhibitions/2017/gloss-modeling-beauty|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.”
One component of the ongoing [https://rasafestival.org|Rasa Festival] can be seen through September 30 at the [http://www.riversidearts.org|Riverside Arts Gallery] in Ypsilanti. [https://www.facebook.com/riverside.arts.center|Riverside Arts Gallery]’s lower-level space houses many large, vibrant, and gestural paintings, and geometric, mandala designs in ritualistic floor art known as [http://www.culturalindia.net/indian-art/rangoli/index.html|rangoli], [http://www.culturalindia.net/indian-art/rangoli/alpana.html|alpana], or [https://en.wikipedia.org/wiki/Kolam|kolam].
The show, Madhavi: Illusion’s Beer, which is a part of 2017’s [https://www.facebook.com/aksharaartsorg|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.