"Orion"'s Return: Mark di Suvero comes to Ann Arbor with his iconic sculpture for a rededication at UMMA
The Diag. The Arb. Nickels Arcade. Kerrytown. Michigan Stadium.
These are among the most popular sights of Ann Arbor.
But another equally famous landmark has been missing from Tree Town for the past year.
Mark di Suvero’s Orion -- the tall, orange-red sculpture outside the University of Michigan Museum of Art -- was removed in April 2018 when UMMA made upgrades to its grounds to deal with storm-water repairs. Orion was shipped back to di Suvero's studio in New York for conservation work, including a new coat of paint.
On April 23, di Suvero's 53-foot high, 21,220-pound steel sculpture will be reinstalled in front of UMMA, taking up its familiar spot on the front lawn, not far from Shang, the artist's other piece that welcomes visitors to the museum. The kinetic sculpture outside UMMA's entrance invites passersby to swing on its suspended platform.
In the year-long exhibition Abstraction, Color, and Politics in the Early 1970s, the University of Michigan Museum of Art asks, “Can abstract art be about politics?”
The exhibition asks audiences to consider the once hotly debated status of abstract art almost 50 years later. Despite the gallery exhibiting only four pieces, the exhibition proves the abstract art of the 1970s has an ability to engage with major political themes then and now.
The move toward abstraction in art accelerated in the 1970s, and many artists turned to it in lieu of representational art. As UMMA points out, some were criticized for turning away from traditional means of representation. Critics suggested that abstract art could not be political, therefore believing artists to be intentionally disengaging with politics. At the same time, minority artists were challenging tenets of art history and institutions that promoted a specific set of standards in determining what “great art” was. Though some argued that abstraction was unable to convey political messages, the movement itself became political by deconstructing the status quo.
Since its inception in April 2008, fans of vinyl LPs have flocked to their favorite independent shops for the event known as Record Store Day. Created to promote patronage among local music sellers, Record Store Day has grown immensely over the last decade.
In 2017, AADL got in on the action and began hosting a pop-up record fair at the downtown library. Located in walking distance from Ann Arbor’s three record shops -- Wazoo Records, Encore Records, and Underground Sounds -- AADL aimed to provide vinyl enthusiasts another place to dig through crates, mingle with other music fans, and take a look at the growing collection of LPs available for checkout at the library.
If you missed us this year, be sure to keep an eye out for our 2020 Record Store Day next April. And if you’re clamoring for more music, be sure to check out AADL's collection of vinyl and CDs, as well as the Ann Arbor Music & Performance Server (AAMPS), where you can download local music offerings.
This year’s event at AADL saw 16 independent vendors cover more than 700 square feet of table space with their sonic wares and the volume and variety did not disappoint any enthusiastic attendees. Local DJ Aaron Batzdorfer spun tunes all afternoon, minus a brief respite where his son Porter stepped in on the wheels of steel. In the library’s Secret Lab, patrons exercised their imaginations and created their own LP album art -- many of which are posted below.
Expected Greatness: UMMA's "The Power Family Program for Inuit Art: Tillirnanngittuq" shows Ann Arbor's role in popularizing indigenous Arctic art
The influx of Inuit art in Ann Arbor began with Ann Arbor’s Eugene Power and Canadian artist James Houston. Power, a friend of Houston, became interested in the art and culture of Inuit peoples following his friend Houston’s research there, beginning in 1948. A decade later, Eugene Power and his son Philip founded a non-profit organization called Eskimo Art Inc. in Ann Arbor that operated as a wholesale distribution center for artworks imported from Kinngait (known then as Cape Dorset) Hudson Bay and Baffin Island. The organization sent profits to artists, funded art supplies, and organized artist training, including Japanese printmaking techniques. Inuit art continued to remain popular in the area, with Eskimo Art Inc. remaining open through 1994.
The Power Family Program for Inuit Art: Tillirnanngittuq exhibition includes many works that date to the beginning of the Power Family’s involvement with Inuit art and the subsequent creation of Eskimo Art Inc. Currently being shown at the University of Michigan Museum of Arts, the exhibition “celebrat[es] the exceptional gift of 20th-century Inuit art to the Museum by the Power family.” The exhibit features 58 works from the collection, which were promised as a gift to the museum in 2018. The title of the exhibition, Tillirnanngittuq, is the Inuktitut word for “unexpected,” referencing the tremendously positive public response to Canadian Inuit Art in Ann Arbor, and globally, beginning in the mid-20th century.
The State of the Art of Surveillance: "Blind House: Utopia and Dystopia in the Age of Radical Transparency"
The Institute for Humanities Gallery is currently housing "Blind House: Utopia and Dystopia in the Age of Radical Transparency," a collaborative installation by artists Paloma Muñoz and Walter Martin. Along the walls are digitally altered photographs of the architectural exteriors of houses and in the center of the room a miniature glass house. There is a school desk in the center of the glass house, on top of which sits a red typewriter.
Visitors are free to enter the space, grab a blank sheet of paper from under the chair, and try to create their own utopia on paper. On the desk there are instructions for the visitor in English and Spanish: “1. Read and throw the existing utopia in the garbage. 2. Write your own utopia and leave it on the typewriter for the next participant. Please feel free to look through the garbage.”
In front of the desk, there is a trash can, which was filled with crumpled up, discarded utopias, demonstrating the past participation of gallery visitors in the work.
Leave it to a museum in a city nestled in a state surrounded in three directions by water to appreciate that Water Is Life. For water is most definitely the topic in display in this expansive photographic exhibit winding its way through the Washtenaw County Historical Society's Argus Museum gallery space.
As curator Cheryl Chidester’s exhibit statement pithily tells us, “Five artists from the Ann Arbor Women Artists used their cameras to capture images that show the diversity, beauty and wonder of water” -- and do they ever.
Local photographers Frederick J. Beutler, Travis Erby, Daniela Gobetti, Sophie Grillet, and Sally Silvennoinen bring a special proficiency to their work at the Argus Museum. By way of professional expression and expertise, each of these talented photographers crafts artistry that’s as unique as a visual fingerprint marking their work as uniquely his or hers.
"Guardians of Detroit: Architectural Sculpture in the Motor City" documents the artistry and symbolism during the city's golden age
Due to a fortunate confluence of water, geography and entrepreneurial vision, Detroit at the end of the 19th century was poised to experience unprecedented growth. Even before the Ford Motor Company was established in 1903, Detroit was a major industrial center and transportation hub. All this commercial activity and prosperity led to a building boom of incredible proportions at a time when the most popular architectural styles were Beaux Arts, Gothic Revival, Classical Revival, and Art Deco. Each of these styles typically required extensive ornamentation and because of this, Detroit became a treasure trove of architectural sculpture.
Jeff Morrison’s new book for Wayne State University Press, Guardians of Detroit: Architectural Sculpture in the Motor City, documents these incredible features in a city that began as a small frontier fort and quickly grew to become a major metropolis and industrial titan. Morrison will be at Ann Arbor District Library's downtown location on Wednesday, March 27, at 7 pm for a presentation where he'll share more than 100 spectacular close-up pictures of architectural sculpture from throughout the city of Detroit. You will also learn about the symbolism behind the ornamentation and hear some of the untold stories of the artists, artisans, and architects involved in its creation, all drawn from the book.
Below is a sneak peek of 10 photos from Guardians of Detroit: Architectural Sculpture in the Motor City:
It is no secret that the American prison system is harsh, socially isolating, and unequal in its treatment of minorities and the poor. For most of us, that uncomfortable acknowledgment is followed by an awkward pause and a polite change of subject.
But visual artist and activist Janie Paul decided 24 years ago that she wasn't having it. Along with her husband, fellow activist and writer Buzz Alexander, she helped found the Prison Creative Arts Program, an ongoing project that connects men and women incarcerated in the Michigan prison system to the outside world through art. The 24th Annual PCAP Art Show, with original artworks by prison artists, opened March 20 at University of Michigan's Duderstadt Center Gallery.
Art exhibits get organized for lots of reasons. In the case of Inner Fragments, a traveling exhibit of 16 young Iranian women artists that landed recently (and briefly) in the University of Michigan’s Duderstadt Gallery, the organizers aim to correct what they see as some misperceptions in the West about contemporary art and artists in Iran.
Their work, varied in style and tone and featuring media from painting to sculpture to video, suggests that Iranian women artists share more with their Western sisters than the sum of their differences might suggest.
Continuing with the fifth installation of its semi-annual exhibition themes, the Ann Arbor Art Center’s Art Now 2019: Painting illustrates the vitality of this perennial art form in our contemporary arts.
Given the dramatic permutations that some art mediums have experienced in the last century -- fabrics and ceramics come readily to mind -- the transitions that painting underwent are seemingly under the radar. But this statement, of course, is not the case.
After all, it was only a little more than one brief century ago that the fury of expressionism was beginning to be felt in European art. Ultimately, various abstractions were going to rule the cutting-edge roost for all intent and purposes through mid-century to be supplanted by the playful shock of Neo-Dada in the 1950s and then branch into the various -isms that would amaze audiences through the balance of the 20th century.
Representation -- expressive or otherwise -- was always a predominant force in painting that worked itself around these flashier kinds of headliner aesthetics. And as the Art Center’s Art Now 2019: Painting heartily shows us, representations -- expressive or otherwise; particularly portraiture -- are still front and center in the visual arts same as it ever was.