Highlighting History: "Harold Neal and Detroit African American Artists: 1945 through the Black Arts Movement"
Though Detroit is synonymous with musical innovation, the Michigan cultural center is not frequently framed as an epicenter of fine art. In a new exhibit, curators suggest that this is not because Detroit lacks—now or in the past—a vibrant art scene but because of historical oversight on the parts of art historians.
Eastern Michigan University’s University Gallery is the first place to host what will be a traveling exhibit with an in-depth look at an era, movement, and place in Harold Neal and Detroit African American Artists: 1945 through the Black Arts Movement. (You can also view the virtual exhibition here.)
The exhibit and presents a view of post-World War II African-American art history "essentially unknown to other scholars,” as the catalog states, and took 10 years to research. Julia R. Myers conducted interviews with artists, scholars, friends, and families of the featured artists, and located many works in private collections. Additionally, research was conducted by reading through numerous news sources, including the Detroit-based African-American newspaper Michigan Chronicle.
Joseph Moncore March’s 1928 book-length poem The Wild Party was a scandal at the time. March portrayed in rhythmic language the shifting landscape of sexual relations and raw desires in the Roaring ’20s as captured in a Hollywood party run amok. The book was banned in Boston and beyond.
The University of Michigan Department of Musical Theatre production of Andrew Lippa’s sung-through musical adaptation of March’s book is reset to portray a group of overprivileged Upper Eastside Manhattan teenagers.
Lippa is a 1987 University of Michigan grad who has had a very successful career as a composer and lyricist. He wrote the music and lyrics for Big Fish, The Addams Family, and three songs for You’re a Good Man Charlie Brown among others. The Wild Party premiered off-Broadway and won the Outer Critics Circle Award for best Off-Broadway musical and Lippa won the Drama Desk Award for best music.
The student cast brings high octane energy to the singing and dancing. The emotions run high in what is basically a complex love (or is it lust) triangle.
I felt guilty for stealing away, by myself, for a few hours on Sunday to see U-M’s Department of Theatre and Drama production of Stef Smith’s Nora: A Doll’s House, leaving my kids and spouse to fend for themselves.
Fittingly, this discomfort points to Nora’s raison d’être: no matter how much we want to believe otherwise, a woman’s role in the domestic sphere really hasn’t changed that much over the past century.
Using Henrik Ibsen’s classic 1879 play, A Doll’s House, as a blueprint, Smith retells the story of Nora—who scrambles to keep secret her method of keeping the family afloat during her husband’s past illness—as she would appear in three different time periods: 1918, 1968, and 2018.
Rashaun Rucker begins his artist statement for Never Free to Rest at U-M's Institute for the Humanities Gallery with a simple definition:
1. To assign to a particular category or class, especially in a manner that is too rigid or exclusive.
Synonyms: categorize, classify, label, typecast, ghettoize
In this exhibit, the Detroit-based artist examines the impact of pigeonholing Black men’s identities through a series of drawings and installations. Rucker's artist statement says he “compares the life and origins of the rock pigeon to the stereotypes and myths of the constructed identities of Black men in the United States of America.”
Live theater is back and the Encore Musical Theatre Company is celebrating the opening of its 13th season in its spectacular new space in Dexter and in the always rocking Smokey Joe’s Cafe.
Dan Cooney and company couldn’t have picked a better show to reignite live theater after the long pandemic drought than Smokey Joe’s Cafe, a revue tribute to the music of Jerry Leiber and Mike Stoller. It’s not the traditional musical that Encore does so well but is instead 90 minutes of pure energy, one great song after another by talented performers who take us back to those early days of rock 'n' roll and rhythm 'n' blues. Leiber and Stoller were there at the creation.
The duo of New York songwriters could and did write hit songs in nearly every genre from folk and country to rhythm and blues to the edges of pop opera. They wrote for such dynamic groups as The Drifters and The Coasters as well as for the distinct voices of the roaring Big Mama Thornton and the early soul sound of Ben E. King to Elvis Presley. And the hits just kept coming as the duo embraced the new music while also giving it their own unique voice.
Smokey Joe's is a roadhouse, the subject of one of Leiber and Stoller’s songs, and an appropriate setting for their take on the ups and downs of life and love. Though there is no storyline, director Dan Cooney’s staging suggests a loose interaction between characters from song to song. A small combo is set up as the cafe’s house band providing a rock-steady beat and great sound.
“Binary calculations are inadequate to assess us,” states transmedia artist Stephanie Dinkins, and she approaches AI and technology with this premise in mind.
Her work is a constant unsettling and renegotiation of current technological and social power systems, achieved by asking audiences to consider and create what she calls "NOW." Through her concept of Afro-now-ism, she proposes a collaborative project in which audience members work to dismantle normative, often violent technological structures and build new, inclusive ones.
The Stamps Gallery's Stephanie Dinkins: On Love & Data is the first survey of works by this artist "who creates platforms for dialogue about artificial intelligence as it intersects race, gender, aging, and our future histories.” She makes interactive works that tell us our futures begin now, so we must work to create the world we wish to see.
At the front of the gallery space, a 2021 work titled Afro-now-ism welcomes visitors into the space. A large neon sign reads "AFRO-NOW-ISM," with the words "NOW" and "OWN" illuminated in yellow and intersecting the bright purple and red of "AFRO-NOW-ISM," creating a cross-like design. The gallery wall text illuminates the work:
During a set change in Theatre Nova’s first live, in-person production in front of an audience since March 2020, a stage crew duo flipped and turned an office desk to reveal a fluffy couch.
As this metamorphosis played out on the Yellow Barn’s stage Saturday night, the audience—masked and seated in spread-out chairs—ooooh-ed and gasped in delighted surprise.
I’m clearly not the only one who’s been pining for little hits of theater magic during this pandemic.
By sheer coincidence, I experienced the Ann Arbor Summer Festival’s theatrical presentation of A Thousand Ways (Part One): A Phone Call at a time when I’d also revisited Mandy Len Catron’s viral essay, “To Fall in Love with Anyone, Do This,” which references 36 questions purported to accelerate intimacy between two strangers.
What’s the connection, you ask?
A Thousand Ways (created by Brooklyn-based troupe 600 Highwaymen) is a phone conversation between you and a stranger, moderated by a pre-recorded, Siri-like voice that poses questions, offers pieces of an imagined narrative, and issues orders. By the end of the hour-long call—filled with seemingly innocuous queries that nonetheless revealed a great deal about ourselves—I felt strangely connected to, and emotionally invested in, the other participant.
To the point that I felt a little heartbroken when I realized that neither of us had enough information to find each other later in real life.
And I felt this sadness despite the fact that we never exchanged names or laid eyes on each other (the latter was part of psychologist Arthur Aron’s experiment, which gave rise to the infamous 36 questions).
The impact struck me as especially curious in this moment, when we’re all slowly emerging from our respective pandemic hidey-holes. We’ve been able to talk by phone with each other this whole time; it was, indeed, one of the safest means of socializing. So why did a pre-recorded moderator make it a far more meaningful, memorable phone conversation than most I had with friends and family during quarantine?
Helicon Haus is a student-run organization associated with the History of Art Undergraduate Society at the University of Michigan. The group hosts annual pop-up art exhibits, publishes writings, and creates arts-related world travel opportunities for its members. But for Helicon Haus' annual art exhibition, anyone may enter.
This year’s call took place in April 2021 and resulted in the online exhibition Into the Abyss, which is the second year in which the submissions were presented a virtual format.
For photosensitive viewers, there is a warning: “This website features flashing images.”
The title Into the Abyss is derived from the French term “mise-en-abîme,” which means “placing into the abyss.” Though each finished work suggests its own interpretation of the abyss, the Helicon Haus collective outlines their definition of the abyss in their “Thoughts on the Abyss.” The Abyss refers to nesting heraldic imagery or the “image within the image.” Artists “dove into the abyss of digital space to create their synergistic works. Displayed virtually, these works are placed into the abyss themselves.” The internet and virtual spaces are defined as an abyss within the parameters of the project. Visually, the concept of the abyss is reinforced with the inclusion of the “black hole” portals on the exhibit homepage.
I double-checked that I was at the correct address, but the unmarked doors to the office building were locked.
After I tried the handles one more time to see if there was something I had missed, an extremely polite office worker let me in and gave me a welcome packet and some paperwork to sign.
At my appointed time, I was ushered into an isolated cubicle with the usual setup—computer, printer, shredder—but also, family pictures, sticky notes, and office cartoons.
However, I was not here to work but to watch a performance. Or was I the performer?
Much like an actual temp job, the show plunks you down into an already-established office eco-system and gives you little training or context for the tasks you are asked to complete. As you receive voicemails, printouts, and emails, you begin to understand your new job: filling in as an actuary for the firm Harold, Adams, McNutt, & Joy. While Sarah Jane Tully is on vacation, it is now your job to mark her clients’ employees deceased or estimate their life expectancy.