Since its launch in late May, WSG’s online gallery has hosted seven exhibits, six of which are technically “over."
But they are all still available for viewing on the online exhibitions information page, a benefit not available to latecomers to the gallery's offerings when it had a physical space at 306 S Main Street, which was shuttered in May 2020 when WSG lost its lease.
WSG Gallery's three most recent exhibits offer meditative spaces, addressing the color blue, winter, and light as themes.
Blue, the exhibit featured from November to December 2020, presented works of 14 WSG Gallery Artists and is described on the website as ranging from:
The MFAs and BFAs produced each year by the nation’s academic art programs far exceed the ability of the art establishment—fine art galleries, museums, collectors, and the like—to absorb them.
What happens to all those aspiring and hopeful young creatives upon graduation?
How do contemporary artists pay rent and continue to work in a world that doesn’t reliably support them financially?
The Story Word Sound Sway exhibit at Stamps Gallery from now until February 28 provides a provocative answer of sorts.
It's fitting that J. Amber Kao is listed as "mover" in the website bio section of IS/LAND, a performance collaborative comprised of Asian Pacific Islander American and Asian artists. Yes, she's a dancer, but as shown in the performance video "In Isolation Pt. 1 - SYNODIC," it's movement that matters most, not a prescribed notion of dance.
Recorded last year in Saginaw Forest before the leaves changed, Kao and fellow Ann Arborite Chien-An Yuan (aka Jienan Yuan) created this video and soundtrack as a "meditation reflecting on both the passage of time and the nature of change—embodied in the dancer’s movement between, around, and within the changing sunlight."
Accompanied by Yuan's ghostly soundtrack, Kao cuts a hypnotizing figure among the tall trees, her movements so slow and controlled that you might think it's a camera trick. While the choreography is for a solo performer, Kao's active dress makes it a duet. The billowy garment almost looks like a special effect, with its horizontal lines implying a landscape, or even a face, its colors syncing with the washed-out greens and blown-out backlighting. But even when Kao bounces the dress, it looks like she has perfect dominion over the fabric's movement, leading the raiment through the dance like a patient teacher.
Over the course of nearly five minutes, it's easy to be transfixed by Kao and ignore her surroundings, but on subsequent viewings, you'll see how the video's contrast subtly changes. While Kao's movements stay in a tight radius, time slides up the path toward her as the colors move from pale to saturated, the backlight dimming with time, the foreground becoming more and more vibrant. Yuan's quivering drone accompaniment is occasionally punctured by a treated piano chord, which introduces a sharp video edit that indicates the next stage of the forest's evolving hues.
It's the perfect video for January, when we're huddling inside our homes, hiding away from the season's browns and grays, waiting to glide in tandem with the verdant world once again.
Michigan Art Gallery's "Her Joyful Eye" is a calming exhibition of paintings by late U-M prof Mignonette Yin Cheng
If there's ever been a season that’s needed contemplative art, this is it.
Ypsilanti's Michigan Art Gallery has mounted an exhibit that's meant to give us this reflective opportunity.
Mignonette Yin Cheng: Her Joyful Eye, currently on display in-house at the Michigan Gallery—and accessible online—illustrates the fact that contemplation doesn't come by easily. It has to be earned.
As seen in this late University of Michigan art professor emerita's comprehensive retrospective, contemplation took Cheng a lifetime of effort. Based on the evidence at hand, not only was it a matter of artistic discipline but also an iron-clad disposition. There's a cool detachment to Chen's art that focuses her viewer’s eye on the minute observations she makes in her composition.
As the Michigan Gallery's gallery statement tells us, “Born in 1933 near Amoy, China, Cheng received her first training at the Russian Academy of Arts in Shanghai learning traditional Chinese drawing and painting techniques. Arriving in the United States in 1955, her style of painting evolved into a vibrant, gestural expression of her unique background and cultural influence.”
Ann Arbor has innumerable large- and small-scale murals already, but they have new company as the result of a crowdfunded project to bring art to walls and alleys around town.
In July, the Ann Arbor Art Center (A2AC) raised more than $50,000 to commission 10 murals around the city. The fundraiser was through Patronicity, and once the goal was met, the Michigan Economic Development Corporation (MEDC) matched the donations to double the money available to the mural artists. At the onset of the project, 10 artists paired with local business owners on the sites of their future murals. In October, two additional murals were announced, raising the total to 12. This initiative is part of the ongoing A2AC Art in Public program that aims to make art “accessible and equitable to everyone,” relying on community-based donations.
Since the Art Center helped crowdfund two other public murals in the recent past, those have been added to the A2AC Murals Map, which features a walking tour of all the works. Currently, 13 murals are finished, with the 14th debuting sometime in 2021.
Here's a rundown of all A2AC's mural commissions, starting with the two that were preludes to the larger project.
Iggy Pop doesn’t have anything to prove.
If he didn’t actually invent punk rock in 1969 with the Stooges, he served as its preening avatar and encouraged countless teenage maniacs to take to the stage, ability be damned. He gave the world “Lust For Life,” “I Got A Right” and “No Fun,” mutilated himself publicly for the elucidation of the audience, and introduced peanut butter as a stage prop.
The strength of Iggy’s work over the first decade of his career cannot be overstated—it’s some of the most vital, intense, and alive music ever recorded by humans. If only for the masterpiece that is Funhouse, Iggy Pop has served humanity well and his current comfortable retirement in Florida is richly deserved.
So when Iggy Pop decides to release a new song on his Bandcamp page, who are we to question its worth?
Pantomime, or panto, is a form of audience participatory musical comedy theater developed in England that has become a beloved part of the Christmas and New Year season in many parts of the English-speaking world. There are songs, dances, and gags galore. Theatre NOVA proudly carries on this tradition right here in Ann Arbor.
This year, however, things had to change a bit. How does one engage the assistance of an audience when theaters across Michigan have had to close? Through the magic of modern technology of course. Theatre NOVA had already experimented with theater over Zoom in October with its Zoom Play Series. Now Nova has applied Zoom to its 2020 panto I’m Streaming of an Alright Christmas by Carla Milarch and R. MacKenzie Lewis.
The plot revolves around Santa and his team getting ready for their Christmas flight. But the reindeer have gone on strike, the elves haven’t made the toys, and the dreaded Rona Monster is on the loose in the North Pole. Can Christmas be saved?
After I clicked the provided link and logged into Zoom, I was met by an animated red curtain. Holiday music played while a five-minute countdown popped up in the lower right corner of my screen along with a dancing Santa along with four guidelines for maximum enjoyment of the show:
Raqs Media Collective's "The Pandemic Circle" explores how artists share and create during quarantine
On December 1, Raqs Media Collective premiered two new videos as part of an ongoing project titled The Pandemic Circle. This three-part series, curated by STAMPS Gallery’s Srimoyee Mitra, was commissioned by the University of Michigan Stamps Gallery and the Penny W. Stamps School of Art & Design as part of EXPO CHICAGO’s online adaptation of its previously in-person discussions and events series. The focus this time is on ways in which those working within the arts are changing and adapting their practices to continue making and sharing art amid the pandemic.
The virtual exhibition includes three short films that explore themes of time, space, and routine, and, more. As described on the exhibition page, the works “grapple with the pervasive and dispersed impact on daily routines and relationships with one another, and beyond, in the age of the Coronavirus." The two new videos are paired with 31 Days, created earlier this summer, three months after the pandemic ushered in sweeping quarantines across the globe and changing the flow of daily life. The follow-up films expand upon the members of the Collective’s response to these changes, broader cultural events, and their own worlds.
Over the Thanksgiving weekend, the University Musical Society released a digital presentation of jazz trumpeter and composer Wynton Marsalis and The Jazz at Lincoln Center Orchestra Septet performing his new composition, "The Democracy! Suite," in a virtual concert filmed at the Frederick P. Rose Hall in New York City.
Marsalis usually visits Ann Arbor every year and often brings special guests with him to play at Hill Auditorium, but this year’s concert was virtual due to the pandemic.
"The Democracy! Suite" is an eight-part response to the political, social, and public health crises we’re dealing with today. The swinging grooves and lyrical jazz was composed to uplift, inspire, and galvanize listeners to work together for a better future.
But what made "The Democracy! Suite" feel different was the commentary Marsalis gave behind it.
Map of the Interior: Sarah Rose Sharp’s "Results or Roses" at U-M Institute of the Humanities Gallery
During these Covid times, visual artists’ exhibitions have migrated to online locations, with mixed results. For some whose work is photographic or text-based in nature, the effect is hardly noticeable. But for artists making very tactile or three-dimensional work, like the artworks in Detroit artist Sarah Rose Sharp’s Results or Roses at U-M Institute of the Humanities Gallery, much is lost in translation. I felt some guilty delight when the gallery curator, Amanda Krugliak, consented to open the gallery (now temporarily closed to the public during the pandemic) for my visit, but you can still view the exhibit online.
Sharp employs traditional needlework and sewing techniques to create a diaristic map of her interior life. The intimately scaled artworks illustrate several different trains of the artist’s thought and share the walls of the gallery and an adjacent vitrine, providing a virtual tour of the artist’s memories, observations, and preoccupations. The overarching intention of the work seems to be located somewhere in the psychic territory between nostalgia and satire.