On a standardly gray February evening I made my way through the dark and cold toward Kerrytown. The block of Fourth Street between Ann and Huron is not a particularly active space after five, but tonight was different. Brightly lit, and with condensation beginning to form, glances of color slipped out the storefront windows of the newly opened Gutman Gallery. 

Operated by The Guild of Artists & Artisans, the Gallery is named for the Guild’s founder, Vic Gutman. A University of Michigan student in the 1970s, the campus asked Gutman to do something about the students who had started hawking their own art on the Diag parallel to the Ann Arbor Street Art Fair. His response was to create the Free Art Fair, which morphed into what is now known as the Ann Arbor Summer Art Fair, and led Gutman to found the Michigan Guild of Artists and Artisans in 1973.

The artists in Riverside Arts Center's Embrace: The Black Experience grapple with what that multifaceted experience means. They respond with artwork just as varied, from metalworks to photographs and digitally rendered multimedia.

Avery Williamson’s three hanging wall scrolls are abstracted line paintings that employ shades and shapes of brown as the main component of their compositions. Williamson is a multidisciplinary artist who works with weaving, photography, painting, and drawing. She describes her work as an exploration of “the narratives of black women in personal and institutional archives,” where they are “defined by names, occupations or skin color.”

For local cocktail lovers, finding good cocktails at a reasonable price can be a challenge. Lots of us enjoy a nice evening out, but a few $15 drinks can really add up.

After spending the last decade combing Ann Arbor and the surrounding areas for good drinks that I can actually afford, I’ve found some pretty sweet deals that don’t break the budget:

This account of a previous Brian Eno-focused Smell & Tell was originally published February 23, 2018. Michelle Krell Kydd hosts another Eno-themed Smell & Tell on Wednesday, February 19, 6:30-8:45 pm, at AADL's Pittsfield branch.

The temple bell stops --
but the sound keeps coming
out of the flowers.
--Matsuo Basho (1644-1694)

“This one smells like stinky feet!” is not something you want to hear at a perfume-smelling event.

But considering the spikenard essential oil in question was used to anoint the feet of Jesus, perhaps it deserved another whiff.

As the 40 people gathered in the fourth-floor conference room at the downtown branch of the Ann Arbor District Library took another hit of spikenard, something akin to turning water into wine started happening. As the molecules of oil on the sampler strips began to evaporate, people began describing the oil as having elements of licorice, red hots, mint, wintergreen, cough medicine, camphor, turpentine, violets, and fruit.

Welcome to Smell & Tell.

Every new season the University of Michigan Medicine’s Gifts of Art brings patients and visitors new exhibits of inspirational, meditative, and thought-provoking works by local and regional artists. For the winter edition, the eight gallery spaces provide uplifting and diverse works, executed in a wide range of media: straight photography, digitally altered photography, oil paintings, oil and chalk pastels, designer hats, multimedia sculptures, and paper sculpture.

For one hour on Tuesday, my fellow theater-goers and I in the video studio of U-M's Duderstadt Center were transformed into the live studio audience for a fictional television morning talk show called Becky’s Time. Our host, Becky, portrayed by Lee Minora, was a blonde-haired, French-manicured, self-proclaimed feminist, ready to use her voice to fight for herself and for us -- whether we wanted her to or not. 

White Feminist takes to task the white women who suddenly became “woke” after the 2016 presidential election, eager to jump in, take charge, and change the world, all while failing to realize that not only were people already doing that work, but they have been for decades. That day’s episode was devoted to “Ladies' Time” (or was it “Lady’s Time”?), yet there were no guests.

Whenever I see news footage of refugees, I always think, “How bad would things have to get before I packed a bag and fled from my home?”

The answer, of course, is really, really bad, especially when doing so would likely put me in mortal danger and leave me vulnerable, indefinitely, in countless ways.

So I knew that As Far As My Fingertips Take Me -- a one-on-one installation performance that’s part of University Musical Society’s No Safety Net 2.0 theater series -- would likely challenge me and make the pain of diaspora more tangible. But what I couldn’t have guessed is how strangely attached I’d become to the visible marks it left upon my skin.

Created by Tania Khoury and performed by Basel Zaraa (a Palestinian refugee born in Syria), the experience begins when you bare your left arm to the elbow, sit next to a white wall, pull on a pair of headphones, trustingly extend your arm through a hole in the wall, and listen to a recording of Zaraa telling his own refugee story, accompanied by an atmospheric rap inspired by his sisters’ journey from Damascus to Sweden.

E.M. Lewis’ Apple Season is a memory play. Memories haunt and suffocate three people who have had trouble moving on.

Three excellent actors bring quiet authority to their performances in Theatre Nova’s Michigan premiere of Lewis’ play under the direction of David Wolber. While Lewis’ play strains to be poetic, seems thin, and is too much like other family trouble dramas, but Wolber and his cast bring an honest realism to the story.

Apple Season is a story about dark family secrets, long-repressed emotions, and lost opportunities. Lissie has come back to her Oregon family home to bury her father and decide what to do with the family apple orchard. She is 36 years old, a fourth-grade teacher, and hasn’t been home since running away with her brother to an aunt’s house as a teenager. 

Is This a Room: Reality Winner Verbatim Transcription looks behind the headlines and the newspaper articles of the real case of Reality Winner, a young woman currently serving a lengthy prison sentence for the unauthorized release of classified documents. She had violated the Espionage Act, which dates back to 1917.

Presented as part of UMS's No Safety Net 2.0 theater festival, this roughly one-hour long show highlights a single moment in Winner’s life, her interview with the FBI that ultimately resulted in her arrest. The stage is almost empty of props, and the audience is focused entirely on the four performers, their dialogue, delivery, and use of personal space. At times, the all-male agents crowd Winner, the only woman present at the time of her interview, giving an appropriate feeling of claustrophobia. At one point, the actors’ speech seems to be slowed down or sped up, perhaps giving insight into Winner’s emotional state at that moment.

The dialogue itself comes from, as the title of the piece says, a verbatim transcription of the recording of the interview. It includes coughs, stumbling over words, people talking over each other, and random unrelated phrases (such as “is this a room”) while the agents both converse with Winner and search her home. 

Stamps Gallery's Taking a Stand offers audiences a glimpse at the works of five artists who engage with themes of solidarity and comment on social and cultural issues at the forefront of contemporary dialogues. They grapple with science fiction, environmentalism, social activism, and the history and continuing impact of colonialism.

Executed in a range of media, the works in the gallery offer an array of involved experience and levels of engagement. Many works employ digital media, such as in Oliver Husain’s 3D film gallery and micha cárdenas’ interactive video game, while others, such as the art by Syrus Marcus Ware, appropriate traditional materials such as clothesline and clothespins as installation materials to hang letters on paper in Activist Love Letters.