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.
When Pulp talked to Joe Hertler in March 2017, he explained that for him and his group, The Rainbow Seekers, “Every show is a celebration in human connection. We are honored to cultivate an experience where people can have fun and be themselves.”
Two years later, the connection still remains.
Joe Hertler and the Rainbow Seekers played at The Blind Pig on both March 30 and 31, their second two-night stop in Ann Arbor this academic year. Before the March 31 show even began, people were hollering at the band from the floor and taking pictures of flower-strewn stage.
French dance company Ballet Preljocaj performed its new full-length contemporary ballet, La Fresque, at the Power Center on March 26 and 27. Ballet Preljocaj, presented by UMS, was in Ann Arbor for the fourth time and as usual, the company did not disappoint. (I was at the March 27 performance.)
La Fresque is based on the Chinese myth of a man who is drawn into a painting of young women. The man falls in love with and marries one of the women but is thrown out of the alternative universe by the woman’s guardians. The ballet ends with him looking at the painting again. Nothing has changed except the hair of one of the subjects, which is now up in a bun, with a flower in place to symbolize their marriage.
Well, that may not be exactly accurate. What really happened was that after sitting transfixed in front of our TVs as news broke that Mueller had finished his report, many of headed out to see the fabulous satirist perform. Some of us weren’t feeling very good. We had just learned there would be no more indictments, a blow to those who would like to see the Trump family behind bars. But Rainbow knew how to lift our spirits and save the country: He threw paper towels into the house.
And the very funny entertainer took a moment to be serious. “There aren’t going to be any more indictments,” Rainbow said solemnly. “So let’s enjoy the ones we already have.”
In 1972, John Lennon and Yoko Ono sought help from an immigration lawyer to extend their visas by six months so that Ono could continue to make her case in custody proceedings for her 8-year-old daughter.
They were put in touch with a mild-mannered, admittedly “square” immigration lawyer who had never heard of John Lennon, though he did know a little about The Beatles. Leon Wildes would find himself drawn into the muck and mire of the Nixon administration, a landmark immigration case, and a friendship with the mercurial, brilliant, and troubled rock star, cultural icon, and political activist.
New Yorker journalists Ronan Farrow and Ken Auletta came to the University of Michigan on March 19 to discuss their work in breaking the Harvey Weinstein story. In particular, they spoke about what changed between 2002, when Auletta first attempted to write the story, and 2017, when Farrow succeeded. Farrow and Auletta were here on behalf of journalism powerhouse The Wallace House, and the crowd was full of noteworthy journalists. I waited in a long, snaking line to enter Rackham Auditorium and felt slightly inadequate.
For his writing on Weinstein and other powerful harassers, Farrow, along with The New York Times’ Jodi Kantor and Megan Twohey, won the 2018 Pulitzer Prize for Public Service. The Pulitzer joins a long list of Farrow’s other accomplishments: he graduated (yes, graduated) from Bard College at 15, earned a Yale law degree, worked for the State Department, and wrote the New York Times bestseller War on Peace: the end of Diplomacy and the Decline of American Influence. At some point in there, he also had a cable news show, became a Rhodes scholar, and is currently finishing a PhD from the University of Oxford. Ken Auletta is no slouch either, with 11 books and more than 25 years writing for the New Yorker under his belt. All of this is enough to make anyone feel that their life has been nothing but a pointless meandering of time.
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.