Riverside Arts Center's "Insecurity: Not Enough Again" exhibit explores personal and social uncertainties
Insecurity takes many forms and shapes: visually, culturally, personally, and within communities. But what is insecurity and how can it be cultivated to produce change?
Riverside Arts Center’s Insecurity: Not Enough Again suggests it is often “a gnawing at the pit of the stomach,” a series of nagging, persistent questions: “Am I enough?” Or, “Will there be enough?”
The Ypsilanti gallery asked artists to consider what insecurity means to them while also partnering with local nonprofits and organizations to address food and housing insecurities in the Washtenaw area.
Riverside’s exhibits frequently pair with broader community organizations, and the Washtenaw County Community and Agency Fair will take place on January 25 from 12-4 pm at the Arts Center and is free to the public. Additionally, on Friday, January 18, Keena Winterzwill will appear at the galleries for a book release and signing, with performances by Jameelski of Breathe Easy Music Group, BMC, Dope Ther@py The Poet, and Joey Crues.
What one person might consider an ordinary, everyday scene, another might see as unusual and unique. It all depends on where you live, since cultures evolve in different ways that fit their environments. So, a person from the Caribbean might not recognize something from the Arctic as commonplace and vice versa.
Reflections: An Ordinary Day, an exhibit University of Michigan Museum of Art (UMMA) that features Inuit art, is filled with imagery of everyday tasks and mythologies of people who live in the Far North. But for people who live in the Midwest, these representations are anything but banal or commonplace.
This is the UMMA’s second exhibit of Inuit art and it gives viewers a chance to see even more works gifted by the Power family to the museum. In the newly named Eleanor Noyes Crumpacker Gallery, prints, drawings, and sculptures spanning from the mid-1950s to the 2010s are now on view through May 10, 2020.
The first exhibit, The Power Family Program for Inuit Art: Tillirnanngittuq, focused on the history of the Power family’s collecting and promoting art in the Cape Dorset area. While many of the pieces on display in Reflections: An Ordinary Day are direct promised gifts from the Power Family, others are purchases made possible by the Power Family Program, or gifts by donors such as Katherine Kurtz and Raburn Howland.
Works in the gallery span from the mid-20th century to the early 21st-century and feature Inuit artistic methods of inscription, printmaking, carving, and drawing. UMMA curator Vera Grant notes that the images selected for the exhibition are united in their depictions of “seemingly ordinary” everyday imagery.
But people who ask that question should see this exhibit at the LSA Humanities Gallery at the University of Michigan.
Sawyer is an artist, educator, curator, and activist based in Detroit who tackles difficult questions of race and identity in American culture. He grapples with the "why don't we have" question by representing iconic African-Americans in his show devoted to “white history” by suggesting that white history is inextricably linked to black history in the U.S. He uses varied media in his explorations of identity and race, including drawings on paper, oil paintings, a soundtrack, and a short film.
His works at LSA range from monumental drawings to intimate portraits of influential black women artists. Sawyer disrupts typical histories of the Civil War and its monuments in these bodies of work by referencing the creation and destruction of monuments both in America and throughout known history. He also offers audiences new heroes through Grâce Noire, his series of charcoal and glitter portraits of black women artists, including Faith Ringgold, Kara Walker, Sydney G. James, and Tiff Massey, an interdisciplinary artist based in Detroit.
In its juried exhibition Way Opens (Disability Arts and Culture), Riverside Arts Center asks, “What does ‘disabled’ mean to such a broad range of people who identify as such?”
Works in the show certainly address artists’ personal experiences with disability, but also offer opportunities for audiences to explore what this means interactively, ideally working toward empathy and interrogation into internalized perceptions of disability. Artists in the show grapple with questions of identity and disability, mostly in America, through multimedia installations, interactive exhibits, painting, fiber arts, video, sculpture, and written word.
The Riverside Arts Center gallery space included multiple changes to the layout typically used for a group exhibition. The center space, instead of being open, or containing installations that require physical engagement, contained tables and chairs to allow visitors to sit and enjoy the show from many positions. The gallery’s book of artist statements is printed in large type and, in addition to the usual statements and bios, includes detailed descriptions of each exhibit for visually impaired visitors.
On November 6, Bob Dylan visited Hill Auditorium for the 7th time as part of his Never Ending Tour -- 57.5 years after his initial performance in Ann Arbor on April 22, 1962.
The Pulp feature "Highway I-94, M-14 & US-23 Revisted: A Comprehensive History of Bob Dylan in Ann Arbor" noted that this was the legend's 12th concert in town. But unlike his early shows here, which were marked by banter with and by the audience, Dylan's most recent show at Hill Auditorium was defined by his longtime approach to performing: he did not once address the audience verbally, instead only interacting through the music.
The University of Michigan Department of Afroamerican and African Studies' GalleryDAAS is hosting a multi-media collaborative exhibit by artist and scholar Rachel Willis, titled Il faut se souvenir, we must not forget: Memorializing Slavery in Detroit and Martinique. It combines Willis’ background in fine arts, history, and Francophone studies to bring the under-told history of slavery in Detroit and Martinique.
Willis was raised in Detroit and received a Bachelor of Arts in French & Francophone Studies from the University of Michigan. In her current work, Willis employs a multi-disciplinary approach to her subject matter, using photographs, historical texts, and technology to explore the history of Detroit’s ties to slavery and the French Caribbean Island of Martinique. Willis is currently working on a Master of Arts in Transcultural Studies, with a focus on Francophone and Caribbean history. Her passion to make little-known yet highly important histories accessible through gallery text and voice tour, paired with photography, creates both a challenging and dynamic experience in GalleryDAAS.
The Body Politic: Japanese artist Mari Katayama challenges attitudes toward the differently abled in her debut U.S. solo show
The first solo show in the United States for Japanese artist Mari Katayama is right here in Ann Arbor.
Katayama’s works are on display at the University of Michigan Museum of Art in the Irving Stenn Jr. Family Gallery through January 26, 2020. Her creations include both photographs and sculptures that disrupt normative viewing of the body, which weave a narrative that rejects dominant cultural and societal attitudes toward disabled bodies. Katayama not only uses her own body as a subject, but she also incorporates surrealist, complex, and skillful handmade prosthetics from textiles and other materials. Her works explore concepts of the self, the body and objectification, voyeurism, and agency.
University of Michigan’s Museum of Art has launched a new program of site-specific, commissioned installations as part of a new biennial program, with the monumental work of Meleko Mokgosi. He debuted a solo commission to inaugurate the program, with a show titled Pan-African Pulp.
Mokgosi’s four works boldly fill the Vertical Gallery space at UMMA, with a larger-than-life wall vinyl that extends from the first floor to the ceiling of the third level, a series of enlarged and annotated pages from a Pan-African manifesto, which are displayed below a variety of posters from Pan-African movements, vinyl text that wraps around the second and third level bannisters, and a large painted mural.
A Botswana-born artist living and working in New York City, Mokgosi's works explore the history and meaning of Pan-Africanism, which UMMA guest curator Ali Subotnick defines as “the global movement to unite ethnic groups of sub-Saharan African descent.” Mokgosi takes this movement, which began around the start of the 20th century, and uses it as a starting point to explore themes of “power, national identification, colonialism, globalization, whiteness, transnationality, xenophobia, democracy, art history, gender, labor, and the authoritarian or institutional voice.” Each component of the exhibition engages with one or more of these themes.
Ordinary People: UMMA's "Take Your Pick: Collecting Found Photographs" asks us to help curate the everyday
In the University of Michigan Museum of Art’s latest photographic exhibit, Take Your Pick, viewers are asked to participate in the selection of images to be added to the permanent collection. UMMA asks us to head to the gallery and look at the 1,000 amateur photographs collected by Peter J. Cohen and decide on our 20 personal favorites. Ballots are available at the entrance of the gallery, with 20 slots to vote for your favorite photographs. On the exhibit's webpage, potential visitors are asked to “Come help build [UMMA's] collection of ‘ordinary’ American 20th-century photographs.” With an emphasis on the word ordinary, the curatorial team is asking viewers to consider how “ordinary” photographs of the 20th century may be reconsidered as objects worthy of preservation and study.
The photographs on display are part of a larger collection of 60,000 snapshots collected by Peter J. Cohen. Cohen acquired his collection by searching through flea markets and buying online. The majority of the images portray candid American life, distilled imagery of private family life: birthday parties, family vacations, school portraits.
University of Michigan Museum of Art’s Connector Gallery frequently displays new acquisitions to the public. Recently, UMMA received four works by early 20th-century Austrian artist Egon Schiele. These four works include pencil drawings and paintings that convey the unconventional figural style for which Schiele is well-known.
Schiele’s figural works make up the majority of his oeuvre, and these gifted artworks represent his investigations into the human figure, each featuring a nude female, sometimes posed with accessories such as jewelry, stockings, or shoes.
The four pieces were donated to UMMA's permanent collection by retired University of Michigan professors Frances McSparron and the late Ernst Pulgram. These four works by Schiele represent a small portion of UMMA's collection of Austrian and German Expressionist works, many of which the professors later donated to the museum.