The woman is in a red shirt, white sneakers, and blue shorts, her outfit unintentionally matching the colors of the American flag. She's on the West Park bandshell in Ann Arbor, painting on a large white sheet taped to the wall between the stage-left doors.
The first thing she writes on the sheet is "Black Lives Matter" in blue.
The time-lapse video she later posted to YouTube shows her fleshing out the mural with protestors presented in a stencil-style, the BLM slogan crafted into pixelated form, and the old rising-sun flag of the Imperial Japanese Army painted behind everything.
Ann Arbor artist T'onna Clemons is the person who created this graffiti-inspired piece and it just about encompasses everything in her style: politics and pop-art mixing with Japanese imagery and the African-American experience.
Detroit Center for Design + Technology's climate change exhibit and symposium features five Ann Arbor artists
The project is called Yeah, What Lester Said, is named for Lester Brown, a pioneering environmentalist pioneer who was one of the first people to sound the alarm about global climate change. “Saving civilization is not a spectator sport," Brown said -- and the artists in this exhibition are anything but spectators.
Yeah, What Lester Said, which runs June 1 to August 15, explores climate-change impacts through architecture and built environments, exploring how the art and design worlds are addressing the issue. It was supposed to be held at the Detroit Center for Design + Technology but was moved online due to Covid-19.
The Ann Arbor artists exhibiting in Yeah, What Lester Said include exhibit co-curator Leslie Sobel, Paul Hickman, Brenda Miller, Margaret Parker, and Dominique Chastenet de Géry. Here's a sampling of some of their work in the exhibition:
Perhaps you’re finding that you have watched all the TV and movies that you can and you’ve read all your books. What to do? I suggest the eminently bingeable genre of webcomics, which are pretty much just like regular comics but just posted online. For free.
Even if you generally don't read comics and graphic novels, I suggest looking through a few webcomics and seeing if you like them -- most are very different from traditional superhero comics. And, hey, this pandemic is leading a lot of people to try something new. I tried savory oatmeal because I ran out of bagels and found out that it was great, so maybe you’ll get sucked into the fantastic art and stories that these comics have to offer.
You can split webcomics into roughly two categories: daily strips and graphic novels. Certainly, there are a lot of comics that don’t fit into either category, but a lot of popular webcomics like XKCD, Saturday Morning Breakfast Cereal, Strange Planet, and Dinosaur Comics feature one-pagers frequently. These are like popcorn and you can easily spend a day or two reading the massive backlog of these comics. But the comics I’m going to feature here are mostly of the graphic novel variety. They are long stories in which each page contributes to an over-arching plot.
This is just a teeny sampling of the webcomics out there and those linked below are my personal favorites. When it comes to webcomics, there really is something for everyone and a growing diversity amongst stories and creators. Comic artists are generally very generous about promoting each others' work, so if you find an artist you like, see whose work they recommend.
Also, blanket advisory: with a few exceptions, all of these comics deal with mature themes. If you are in the (very understandable) mood for mindless fluff, this is not the list for you. But if you want to find some stories full of complex characters, adventures, ethical dilemmas, and amazing art, any comic listed here is a great place to start. If a comic sounds intriguing but you’re worried about disturbing content, you may want to do a bit of research about it first.
The link to each comic goes to the first page of the story.
Brian Walline's work is instantly recognizable. The Ann Arbor artist creates Michigan scenes in the style of vintage travel posters, using bright colors and bold typography to convey a deep love for his home state.
While Walline takes freelance commissions -- he did the art for AADL's 2019 Summer Game -- a significant part of his income is derived from tabling at art shows across Michigan. But most of the major art shows for the summer have been canceled, and since they all take a while to organize, it's unlikely any will attempt to reopen even in a modified fashion that's in line with the current phase 4 guidelines for the way businesses can operate.
With his fellow artists in mind, Walline took it upon himself to create The Great Michigan Online Art Fair as a virtual way for creators to display their wares in a playful, interactive environment.
"We are trying to uncancel our livelihoods," Walline writes on the art fair's website.
Artists and vendors can apply to be a part of The Great Michigan Online Art Fair through 11:59 p.m. EST on Sunday, June 7. The site will host 31 artists and 16 vendors between June 15 and July 13, and the art fair is also accepting sponsorships.
We emailed with Walline about his creation of The Great Michigan Online Art Fair:
The first thing that jumps to mind when I think about New York City cafeterias is Edward Hopper's 1942 painting Nighthawks. In addition to its masterful capturing of manmade lights and nighttime shadows, many interpret the painting as a portrait of big-city loneliness. "The four anonymous and uncommunicative night owls seem as separate and remote from the viewer as they are from one another," states the proprietor of the fansite edwardhopper.net. But to me, it looks like the counter clerk is speaking with the couple, who may have had a great night out on the town based on the way they're smartly dressed, leaving the man with his back to viewers as the lone lonely one -- though the painter referred to him as "dark sinister" in his notes for the painting, not lonely.
These sorts of varied interpretations about what people are doing in eateries went through my mind as I viewed photographer Marcia Bricker Halperin's NYC's Vanished Cafeterias: 1975-1985 exhibition.
Halperin's work was on display at the University of Michigan's Lane Hall Gallery when COVID-19 closed down everything. Organized by The Institute for Research on Women and Gender, the Women’s Studies Department, the Jean and Samuel Frankel Center for Judaic Studies, and the Department of American Culture, it was originally scheduled to run January 16 to July 31, but the exhibit has moved online. The 17 black-and-white photos in the physical exhibit are interspersed with shots of the gallery setting and text panels for the online version,
While the name NYC's Vanished Cafeterias indicates Halperin went all over the city to photograph, the Brooklyn native shot at two locations, both part of the small, family-run Dubrow's chain. (She has also shot eateries in other places, such as Miami's Concord Cafeteria, not associated with Dubrow's.) As the Institute for Research on Women and Gender website states:
With the coronavirus quarantine here to stay for the foreseeable future, the Ann Arbor Art Center (A2AC) had a quandary with its sixth annual Art Now: Photography exhibit, which was scheduled to run in its gallery April 3 to May 2: cancel it, delay it, or make it an online exhibit.
A2AC opted for the online choice and launched Art Now: Photography on its original opening date over at annarborartcenter.org.
Juror Eleanor Oakes -- an assistant professor of photography at the College for Creative Studies and founder of Darkroom Detroit -- picked the theme "nothing is clear, nothing is certain" and the 36 photographs by 37 artists explore ambiguity, mental health, gender, and more.
Whether by chance or prescience, one photo stood out due to the way it dovetails with a current trend during the world's stay-at-home status.
We usually travel to a museum to view its art. But with everything closed for the foreseeable future due to the coronavirus pandemic, the University of Michigan Museum of Art is bringing its collection to you.
UMMA's Art in Your Inbox officially launched on March 26, with the museum emailing images from its collection twice a week, accompanied by brief, thoughtful commentaries on the works. But the project's genesis came from UMMA staff members privately sending art images to one another; they found the exchanges comforting and decided to share their finds with the public.
The pieces are chosen with society's current predicament in mind, such as Joanne Leonard's photograph Winged Ones, which features a child in angel wings staring out a window. But UMMA isn't just choosing isolation and illness art; inspired by Netflix's runaway hit Tiger King, one email featured the Tigress and Cubs scroll by Konoshima Ôkoku, which linked then linked to 11 additional works in UMMA's collection featuring the big cats. Another Art in Your Inbox image was Julie Blackmon's photo Birds at Home, featuring five children sitting at a messy dinner table among 12 cracked eggs; the body of the email featured the headline, "Homeschooling for how long?"
If you'e looking to indulge your quarantined senses with virtual art, Google has collaborated with more than 500 galleries and museums to digitize their collections through the megacorp's Arts & Culture’s collection. The only Washtenaw space to partner with Google is the University of Michigan Museum of Art, leaving smaller galleries and museums to figure out if they have the bandwidth -- human resources and digitally -- to post virtual exhibits of their permanent collections or canceled exhibits.
Here's what we found so far:
Valery Jung Estabrook's hand-sewn exhibit at U-M's LSA Humanities Gallery re-creates an uncomfortable snapshot of a rural American interior
The LSA Humanities Gallery is known for exhibits that raise uncomfortable questions and featuring provocative artworks that cut to the heart of American culture. With its most recent exhibit, *Hometown Hero (Chink): An American Interior, viewers are invited to explore an installation designed by multidisciplinary artist and Paula and Edwin Sidman Fellow in the Arts recipient Valery Jung Estabrook.
Estabrook’s installation is comprised of a life-sized, hand-sewn re-creation of an American interior, which casually anchors iconography of America’s racist past and present against a backdrop of brown, dreary dimness. Jung bases the recreation on her experiences growing up in rural Southwestern Virginia, though the low-wattage lightbulbs and centrally-placed television are instantly recognizable to me as a person who grew up in the rural Midwest, suggesting that Estabrook’s experiences are not unique to the American South. *Hometown Hero (Chink): An American Interior casually and precisely captures rural American life, from the guns mounted on the wall to the La-Z-Boy-style chair upholstered with a Confederate flag. This familiarity is unsettling.
Ted Ramsay, a professor emeritus at the University of Michigan’s School of Art and Design, has long made expressionism in its many guises the focus of his painting. His last WSG exhibit, March 2013’s Spatial Narratives in Paint, was marked by expressive figuration, which Ramsay explained as, "In my figure paintings I strive for an aura of magic and mystery tempered with a subjective, but believable dose of reality." I wrote at that time that Ramsay’s “whose homage to silence is so complete, you can almost hear a pin drop.”
The paintings in Ted Ramsay: Visual Symphony Series, on display at WSG through March 14, are more boisterous than those in Spatial Narratives as Ramsay loosens his representational moorings by melodically flinging himself into his working surfaces. His Visual Symphony Series bears the conventions of abstract expressionism, but how they came into being are particular to Ramsay's working environment. As he tells us in his gallery statement: