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.
The artists in the juried exhibition Hive/Mind ii at 22 North Gallery in Ypsilanti until September 28 have been thinking about honeybees -- a lot. The subject comes up once a year in September. This is the seventh iteration of the citywide Festival of the Honeybee, which includes honey tastings, musical performances, children's activities -- and this exhibition.
The years since the inauguration of the festival have been eventful -- and not in a good way -- for this most useful and industrious of insects. As colony collapse disorder forces a public discussion of the damage humans can and do inflict on the environment, the artists of Hive/Mind ii creatively contemplate the relationship between human and honeybee as a metaphor for our relationship with the environment. Jurors Jessica Tenbusch, Elize Jekabson, Nan Plummer, and Maggie Spencer have selected artworks that reflect a range of media and conceptual approaches to the subject.
Upon entering the gallery, visitors will see a richly colored painting by Kentucky-based artist Michele Newby Armstrong that incorporates the hexagonal cells of bees with what appears to be collaged advertising for the suspected culprit of colony collapse disorder, neonicotinoid pesticides. The artist makes extensive use of stencils that repeat the motif of cell and honeybee, resulting in a pleasing artwork that belies the underlying somber theme. Nearby, ceramic artist Jon Van Eck’s honey bee jug is a black-and-yellow presence. His usually comic tone is subdued here, but still cheerful and technically impressive.
Textures of Detroit, now on exhibit in Concordia University’s Kreft Gallery through October 23, presents the work of six Detroit artists as they respond to their urban environment through the prism of personal experience. It’s an odd, conjoined-twin sort of exhibit.
There are really two exhibits on view here. In Exhibit A, with Matt Corbin, Ann Smith and Carole Harris, who take their inspiration from the materiality of the city, a time-honored Detroit method recently highlighted in Landlord Colors at Cranbrook Museum of Art. And then there’s Exhibit B: in which Roy Feldman, Carl Wilson, and Peter Bernal observe and report on the human dimensions of Detroit.
In Elizabeth Smith's Pulp review of Nora Venturelli's Vice Versa exhibition at WSG Gallery in 2017, she noted that it consisted of "large-scale mixed-media paintings of the human figure in motion, with gestural lines and overlapping forms suggesting the trajectory of the body through space."
That description is true for Venturelli's new WSG exhibition, Body of Work -- except for the "large-scale" part. In an interview published on wsg-art.com, Venturelli says she hasn't "had the time to work on bigger pieces these past two years. Therefore, I decided to show what I had been doing since my last solo at the gallery. Most of the work in this show is the result of short poses during weekly 3-hour sessions."
Ruth Leonela Buentello's "Yo Tengo Nombre" evokes the horrors immigrants face at the U.S.-Mexico border
Ruth Leonela Buentello's Zero Tolerance series was inspired by the Trump administration's inhumane immigration policy at the U.S.-Mexico border and the subsequent mistreatment of migrant individuals as revealed by media investigations. Six paintings from the series will be displayed at the University of Michigan's Institute for the Humanities under the title Yo Tengo Nombre [I Have a Name] from September 19 to October 31.
While the San Antonio, Texas-based Buentello is an interdisciplinary artist, the works in Yo Tengo Nombre are all acrylic-on-canvas paintings. She asked members of her family to pose for the paintings, telling them to imagine what it would be like if they were in the position of these migrants. "Family and immigration enforcement are personal to many of us with migrant roots," Buentello said in a press release and she tried to capture the terror in her relatives' faces as they acted out moments that immigrants deal with every day.
Buentello, the 2019 Efroymson Emerging Artist in Residence, will talk with curator Amanda Krugliak during the opening reception on September 19, 5:30-7 pm.
Below is a sneak peek at the paintings.
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.
The best-known graffiti in Ann Arbor is in an alley off East Liberty.
But through March 29, 2020, the most important graffiti will be at the University of Michigan Kelsey Museum of Archaeology.
Graffiti As Devotion Along the Nile: El-Kurru, Sudan explores the practice of carving a picture into the walls of pyramids and temples as an act of religious ritual during the ancient Kush period, which was ruled from the capital of Meroe (300 BCE to 300 CE), a city along the Nile that's around 100 miles north of modern-day Khartoum. The exhibition displays a series of graffiti discovered during a Kelsey Museum archaeological field project on a pyramid and in an underground temple at the site of El-Kurru.
Co-curator Geoff Emberling -- an associate research scientist at the Kelsey Museum and co-director of the International Kurru Archaeological Project -- says the graffiti includes Kush symbols such as the ram, which represents the local form of the god Amun, and a long-legged bowman who symbolized Kushite prowess in archery. There are also intricate textile designs, as well as animals: horses, birds, camels, and giraffes. A press release states: "The most common marks are small round holes gouged in the stone -- by analogy with modern practices, these are likely the areas where temple visitors scraped the wall of the holy place in order to collect powdered stone that they would ingest to promote fertility and healing."
Befitting an exhibition made up of works from 18 of its teachers, The Instructor Show at the Ann Arbor Art Center offers a diverse range of media, including painting, sculpture, jewelry, printmaking, drawing, fiber arts, and encaustic. The exhibit is a fine display of the talent behind the multitude of programs, events, and classes the Art Center offers.
Jennifer Belair-Sakarian is an artist who was raised and educated in the Midwest. Her works often center on stream of consciousness, featuring imagery related to natural environments, relationships, and human emotions. Belair-Sakarian employs collage, printmaking, painting, and drawing in her practice. Two works in the gallery represent the range of media in her repertoire, including a mixed-media monoprint and a watercolor with gloss gel medium. Belair-Sakarian is inspired by moments from everyday life, where she later synthesizes real and imagined spaces into her visual work.
A round-up of arts and culture stories featuring people, places, and things in Washtenaw County, whether they're just passing through or Townies for life. Coverage includes music, visual art, film & video, theater & dance, written word, and Pulp life (food, fairs, and more). If you're reading this in the future and a story link is dead, look up the URL on web.archive.org; we've cached every post there.
This is the vacation-catch-up edition of Pulp Bits, so we have links going back to late June -- a true smorgasbord of culture news. Feast!