I Want to Believe: "Proof: The Ryoichi Excavations" at UMMA asks us to suspend belief

VISUAL ART REVIEW

Patrick Nagatani, Bentley, Stonehenge photo

Patrick Nagatani, Bentley, Stonehenge, Salisbury Plain, Wiltshire, England R5, 1987, gelatin silver print. University of Michigan Museum of Art, Gift of Thomas Wilson '79 and Jill Garling '80, 2012/2.135. © Patrick Nagatani Estate.

Proof: The Ryoichi Excavations presents artist Patrick Nagatani’s series of staged, minutely detailed photographs of fictional archeological excavations. The University of Michigan University of Art's exhibition announcement summarizes the content of the exhibit, in which Nagatani uses photographs to present “artifacts” from the life of Nagatani’s alter ego, an explorer named Ryoichi:

Nagatani presents a narrative of Ryoichi’s archeological work, supported by images of excavation sites, unearthed artifacts, and Ryoichi’s own journal pages. According to the photographs, Ryoichi discovered evidence of an automobile culture buried at sites across several continents: Stonehenge, the Grand Canyon, and a necropolis in China.

The photographs represent the various facets of the Ryoichi Excavations project, with photographs of journal pages in Japanese, video stills, photographic representations of the excavations, and curatorial wall text explaining the contents of the images. Some of these are displayed in standing glass cases in addition to the gallery walls. Nagatani’s dedication to creating a playful illusion of an archaeological project questions the assumption that photography is a means to convey unaltered, factual images. 

In a Mellow Tone: Earthly elements define Candace Compton Pappas' paintings at Cafe Zola

VISUAL ART INTERVIEW

Candace Compton Pappas' Journey With Branches painting

Journey With Branches, ink, oil on paper 22" x 30"

Candace Compton Pappas' paintings evoke the dirt at dusk, the soil at sunset, and trees in the bleak mid-winter. 

You can view these earthen works at Ann Arbor's Cafe Zola through the end of December, but you might have to lean over someone scarfing some smoked salmon bruschetta for a closer look.

It can be tricky to navigate this frequently full restaurant to get a close view of Pappas' paintings and truly appreciate their moody evocations, but she doesn't seem worried.

"Customers can figure out how to view the work amidst the coming and going of diners," said the artist, who lives in Chelsea, Michigan. "Cafe Zola is open from 7 am to 10 pm every day -- so lots of quiet times to enjoy without the high volume of lunch or dinner."

Plus, it's not the first time Pappas has shown her work at the 112 W. Washington St. restaurant.

Dennis Jones’ “Candyland” is a graffiti-inspired exploration of post-painterly art

VISUAL ART REVIEW

Dennis Jones' Candyland paintings

Clockwise from top left: Chewy Swirls, acrylic, latex, spray paint, paint marker, and paint fragments on canvas, 2014-18; Candyass, acrylic, latex, spray paint, paint marker, and paint fragments on canvas, 2017-18; Sugar Pills, acrylic and paint marker on canvas, 2014-18.

Dennis Jones’ Candyland at the University of Michigan North Campus Research Complex Rotunda is for those who like to have a little contact high to go along with their art.

A 2014-2018 14 masterwork concoction crafted by this adjunct faculty at Detroit’s College for Creative Studies, Candyland is a full-throttled exploration of post-painterly art whose graffiti-inspired abstraction is more than enough to push your glucose level beyond its prescribed limit.

96th All Media Exhibition at the Ann Arbor Art Center

VISUAL ART INTERVIEW

Ann Arbor Art Center, Shared Personal Space

Elise Martin, Shared Personal Space (2018)

Sarah Rose Sharp is an accomplished artist in many areas: she writes about art and culture, lectures at a half dozen colleges and universities, shows her own work in places like New York, Seattle, and the Detroit Institute of Arts, and most recently she curated the 96th All Media Exhibition at the Ann Arbor Art Center

“This was an open call, so artists submit their work and my job as the juror is to choose which work gets into the show,” Sharp explains. “We received around 700 submissions, which were then culled down to 45. … A very challenging undertaking!”

Working Magic: "Beyond Words" A Celebration of Book Arts in 2018" at WSG Gallery

VISUAL ART REVIEW

Norma Penchansky-Glazer, Seeking the Reflections, cyanoprint, mixed media

Norma Penchansky-Glazer, Seeking the Reflections, cyanoprint, mixed media.

The cosmologist Carl Sagan once said, “A book is proof that humans are capable of working magic.” His comment admirably describes the lively spirit that animates Beyond Words: A Celebration of Book Arts in 2018 at WSG Gallery through November 24. The exhibit, curated by Ann Arbor artist Barbara Brown, continues an ongoing series -- this is its eighth iteration -- devoted to the art and craft of book-making by artists in the Great Lakes region. 

Beyond Words is a noisy little show. The gallery’s atmosphere brings to mind a lively coffee shop filled with convivial patrons rather than the dusky silence of a library. These books have a lot to say, they are saying it out loud and no one is saying, “Shhhh!” There are tunnel books, books with video components, boxed scrolls, tiny suitcase books, books set to music. There’s even a book of poetry made of old tires. Brown says, “I feel like I’ve created an impromptu happening because the works have sound and light and movement.”

Acts of Amore: "Love Has a Thousand Shapes" at A2 Art Center

VISUAL ART REVIEW

Paintings by Patrick Burton and Judy Bowman

Left: J'aime Qui M'aime (I Love Who Loves Me) by Patrick Burton
Right: American Gothic: On the Black Hand Side by Judy Bowman

Love Has a Thousand Shapes is an intimate look at the works of five artists, curated by Andrew Thompson. In the exhibition announcement, the exhibition’s inspiration is cited as having come from Virginia Woolf’s character Lily Briscoe in To the Lighthouse. The name of the exhibition draws from the text itself, in which the phrase described her art-making was an act of love itself. The exhibition, a partnership between Literati Bookstore and the Ann Arbor Art Center, draws inspiration from literary allegories, the announcement also referencing Kurt Vonnegut’s Bluebeard in which a character creates “his final painting, a masterwork of love.” The work in the exhibit explores love “between lovers, friends, family, and with pets, places, and the past. The act of making artwork can be considered an act of love in and of itself.”

With the selection of only five artists, viewers are allowed a more in-depth look at a single artists’ work. 

Love Is All Around: An interview with curator Andrew Thompson

VISUAL ART INTERVIEW

Adrienne Lesperance painting

Being Seen by Adrienne Lesperance

Some art must be seen and experienced in person to get the full effects of its power. This is particularly true of the exhibit Love Has a Thousand Shapes at the Ann Arbor Art Center. Every piece in the show expresses a different aspect of love. Curator Andrew Thompson says that the inspiration came from a phenomenal experience he had in an independent study that he taught at Antioch College. “We read Virginia Woolf’s To the Lighthouse and looked at the artwork of Ann Hamilton,” who created art based on this story. “The character of Lily believes that love had a thousand shapes. She believes that the making of art is an act of love. This statement, this belief, served as the inspiration for the show.”

This message also influenced the pieces that Thompson, who is also a lecturer at U of M’s Stamps School of Art and Design, selected.

UMMA's "Beyond Borders: Global Africa" asks what it means to be an artist from the continent

VISUAL ART REVIEW

Diop's Belley and Wiley's World

Left: Omar Victor Diop, Jean-Baptiste Belley (1746-1805), 2014, pigment inkjet print on Harman by Hahnemühle paper. Courtesy of Mott-Warsh collection, Flint, Michigan and MAGNIN-A Gallery, Paris, © Omar Victor Diop.
Right: Kehinde Wiley, On Top of the World, 2008, oil on canvas. Courtesy of Aishti Foundation, Beirut © Kehinde Wiley.

UMMA’s exhibition Beyond Borders: Global Africa extends a conversation recently addressed in Unrecorded: Reimagining Artist Identities in Africa. The newer exhibit asks the audience to consider the roles of contemporary artists, as the subtitle Global Africa suggests, along with a reconceptualization of previously narrow definitions of “African art” or “African artists.” UMMA director Christina Olsen states that the pieces on display, many of which belong to UMMA, “ask questions about what it means to be an ‘African’ artist and make ‘African’ art.” Included in the show are photographs, paintings, installations, and sculptures. This exhibition includes “approximately 40 works of art drawn from UMMA's African art collection and from private and public holdings around the world, including the eminent Contemporary African Art Collection assembled by Jean Pigozzi of Geneva, Switzerland.” 

Stamps Gallery's "Have We Met?" explores how institutions can create inclusive, creative spaces

VISUAL ART REVIEW

Stamps Gallery’s Have We Met? Dialogues on Memory and Desire explores the artworks of political and social groups that have helped shape Ann Arbor. Curated by Srimoyee Mitra, the large gallery is packed with posters, paintings, digital art, sculptures, installations, video, and spaces for visitors to sit and research social movements and histories represented by the artists. The exhibit takes the gallery space into question, with installations that invite viewers to physically engage with their surroundings throughout the gallery. 

The exhibition specifically draws from social movements in Ann Arbor, such as the anti-war and civil rights movements, and the experimental art collective The Once Group. Have We Met? features materials from University of Michigan’s Labadie Collection and the Bentley Library, in addition to “radical artworks by diverse, multigenerational artists and designers whose works are deeply influenced by the ideas of freedom and self-determination; rewriting canonical accounts of history.”

Spontaneous Hues: Elizabeth Schwartz’s solo show "RED" at WSG Gallery

VISUAL ART INTERVIEW

Elizabeth Schwartz paintings, Celebrating Scarlet and The Power of Red

From left to right: Celebrating Scarlet, 36" x 36"; The Power of Red, 36" x 36".

"I love red!” Elizabeth Schwartz exclaims -- and the artist clearly means what she says. RED, her solo exhibit at WSG Gallery, explores and celebrates a powerful hue freighted with cultural and emotional significance. In her most recent series of 11 abstract acrylic paintings on canvas, she shows herself to be a spontaneous colorist who’s not afraid to tackle the contradictory connotations of a color that can project courage, passion, sexuality, danger, aggression, and love.

Fine art is a second career for Schwartz, whose first profession was the law.  “I started as a criminal appellate attorney in Detroit and became the deputy director of that office. Then I worked for the [Michigan] Public Service Commission and then the state Attorney General’s office. [Later] I came to Ann Arbor as City Attorney before being appointed an administrative law judge." She continues, “I started painting while I was [still] lawyering … a friend of mine, Fred Horowitz, taught [art] at Washtenaw [Community College]. He was a longtime friend and I was growing weary of law practice. He just changed my life. He said, ‘Take my class -- I may not teach you how to draw, but I can teach you how to see.’ It was magic."