The Ann Arbor Art Center’s most recent juried exhibition asks: “When does action transcend habit to become something more meaningful? RINSE/REPEAT explores concepts of ritual or routine in creative practice, where the experience is intentional, sacred -- not solely focused on the product or outcome, but on the set of actions.”
The Art Center frequently hosts exhibitions curated by guest jurors, and like many of its recent exhibits, the show continues to bring a variety of multi-media works by contemporary artists, both local and non-local. The exhibition as a whole has a strong emphasis on fiber arts and less traditional “fine art” media.
Juror Marlee Grace conceptualized RINSE/REPEAT, which addresses artists’ processes, and has selected a group of pieces that, in different ways, address the often intense, repeated processes behind the finalized works. Grace is most known for her Instagram account “Personal Practice,” where she posts videos of herself exploring movement, and many works in the show comment on movement and motion, approaching the subject of repetition literally.
With eight different exhibits in its summer presentation, Gifts of Art continues to be an important part of the University of Michigan's creative ecosystem. The exhibitions, which run through September 9, serve as an important facet of the hospital, bringing the gallery experience to patients, staff, and visitors.
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:
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.”
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.”
Ann Arbor Art Center’s current exhibition, Written Into Rock, explores imagery associated with the Earth, geology, and human impact on the environment. Curated by Gina Iacobelli, the exhibition features the works of seven artists dispersed throughout the gallery instead of placing works by each artist together.
The exhibition announcement states that the show “is an exploration of the ways in which humans have altered the natural landscape,” and was in part initially inspired by writings of Donna Haraway and Heather Davis, who explore ideas relating to the Anthropocene era, a “new geologic area defined by human’s mark on the geologic record.”
Michigan Medicine’s Gifts of Art program regularly supports artists while working to “revitalize and enrich lives” of patients and visitors. The latest Gifts of Art series on display in various parts of University Hospital is available to view through June 10. The eight small exhibits in Gifts of Art's nine galleries feature the works of artists Tina West, Richard Light, John Dempsey, Mary Brodbeck, Aimee Lee, Re Kielar, f8collective, and WCC faculty, staff, and students.
The University of Michigan Museum of Art’s exhibition Exercising the Eye: The Gertrude Kasle Collection presents an array of works by influential artists of the 20th century. Many of these artists, as pointed out by the exhibition organizers, were, in part, brought to prominence in the Midwest by Gertrude Kasle’s (1917-2016) promotion of their works.
The U-M Institute for Research on Women and Gender and the Department of Women’s Studies exhibition Labors of Love and Loss is a collection of mixed-media pieces exploring gender and race and "considers the intertwined lives of caregivers, their dependents and charges.” The exhibition presents the works of Marianetta Porter and Lisa Olson, featuring processes such as letterpress combined with found objects. Though Porter and Olson’s works differ in some respects, they create a cohesive, important dialogue about the history of women’s work and the intersections between race, gender, and class, expertly portrayed through text and object.
What exactly is the exhibit, and what are the Labors of Love and Loss that the title refers?
Detroit-based artist and University of Michigan lecturer Joyce Brienza received her Bachelor’s of Fine Arts from Wayne State University and earned an MFA at Mason Gross School of the Arts at Rutgers University. She has exhibited her paintings nationally and internationally, and her work addresses often-dichotomous themes, exploring her interest in “places between.”
I talked to Brienza about her Floating Points exhibit in the Rotunda Gallery at U-M's North Campus Research Complex, which engages with themes of the unconscious/conscious, male/female, and high/low art.