Since 2007, Richard Renaldi has been casting, staging and capturing ephemeral connections between complete strangers. “I’m looking for people that look as if they have a story to tell… Someone that makes you want to know more, want to look more, want to continue looking at them because they have something about them that is beautiful,” Richard tells me. It’s early afternoon, and he’s phoned me from inside his vehicle parked on a New York City side street. “And I don’t mean the traditional classical sense of beauty, but instead something that is an attractive quality—strong features, individuality, a visible hardship or softness in their face.” Read the rest of this entry »
By Allison Glenn
Can you talk a bit more about the Detroit you experienced as an adolescent and young adult, and how this Detroit may or may not have shifted?
I call the years of my youth the “Golden Era” of Detroit. Blackness was a norm. No matter where you went, we were the majority and as a result being black was a beautiful enjoyable experience. It was a sort of paradise that I yearn for now.
My parents were collectors of contemporary art. My life growing up was filled with trips to the DIA [Detroit Institute of Arts] for art classes and mystery walks. My father frequently took me to Cranbrook where they showed all the edgy contemporary work. He loved buying work from local Detroit artists; grad shows at the College for Creative Studies and emerging mid-career artists from the African diaspora. Read the rest of this entry »
By Allison Glenn
The twenty-first century has brought with it the re-emergence of contemporary conceptual artists engaged with penumbral zones. These artists are interested in site, positing new ideas for usage of once-inhabited homes and urban spaces. Whether the middle of the desert or the center of a blighted neighborhood, these sites exist on the theoretical—albeit times physical—margins of society. Artistic engagement with these interstitial spaces is on a material level, with art and architecture converging to create radical and experimental approaches to living. Positing ideas for architecture, technology, space and the body’s relation to it, artists are projecting utopic ideals for the future of the quotidian urban environment. What emerges from this are hybrid works of art and cultural production. Read the rest of this entry »
Blocks of Art and Stuff: Taking in the Heidelberg Project, East Detroit’s Spectacle of Transformation and PerseveranceInstallation, Outsider Art, Public Art, Sculpture No Comments »
When you first pull up to the open-air art installation on Heidelberg Street in East Detroit, you’re struck by the remnants of houses that have recently been set afire by arsonists. Twelve blazes have gutted six installations in the last two years. The devastation and loss are felt at once, never absent throughout the exhibit, and serve as commentary on the plight of Detroit’s inner city. But Tyree Guyton and his volunteers continue to clear the ash and debris, create new works, and transform the space into one that persists in provoking thought, inciting imagination, and drawing in people from all over the country and world. Read the rest of this entry »
Aside from the obvious aesthetic concerns of making objects of lasting beauty, the central problem of abstraction has always been one of style and technique. More specifically, it has been the search for a technique that yields and animates an autographic or signature style as unique as the painter’s vision. It’s a lot harder than it sounds: as evidence, witness the cliché-ridden failures of abstract painting’s supposed “comeback” visible at any given art fair.
All the more reason then to celebrate the seven artists whose works comprise the concentrated, diverse and yet seamlessly integrated “Abstraction: A Visual Language” at Rhona Hoffman Gallery. That these artists are also women is a fact worth highlighting in its own right, but let’s be clear: these are damn good painters first and foremost who make singular works that defy easy categorization. Read the rest of this entry »
.LDOC, a biweekly one-sheet publication of photography and creative writing, will appear at select Red Line stops this October, offering the public a gateway to the arts. The publication received a $10,000 grant from Crusade for Art, funding the first year of the free print. Volunteers will hand out new issues on the first and third Monday of each month at Loyola Avenue, Belmont Avenue, Lake Street, 69th Street and 95th Street stops on the CTA Red Line. Newcity sat down with .LDOC founders, the wife and husband duo Danielle and Joseph Wilcox, to get the backstory on the new project. Read the rest of this entry »
Paint purists, oil enthusiasts and lovers of all things gooey can get their fix at Kavi Gupta right now. Claire Sherman’s current show, “Funeral Mountain” blends Romantic-era geological drama with mid-century action painting, modernizing it by default in the process. The show is comprised of six large paintings of rock walls and three of caves, each one simple and sophisticated but strikingly generous with its labor and beauty. Read the rest of this entry »
Whether or not you ever found the intellectual content of Playboy magazine as thrilling as its cheesecake, you had to be impressed by the way it incorporated image and text to create excitement on every page. As art director for its first thirty years, Art Paul (born 1925) was responsible for that graphic design as well as the Playboy Bunny logo, so it’s no surprise that soon after retirement in 1982, he was inducted into the Art Directors Club Hall of Fame. Read the rest of this entry »
It’s all about social class in Dan Farnum’s color street portraits of mainly youth in his hometown of Saginaw, Michigan and the outskirts of Detroit. Farnum is middle class and in his thirties, an early Millennial on the cusp between X and Y; and his subjects, white and black, come from the lower rungs of the economic ladder, though not abjectly poor. When he was young, Farnum heard and saw all the stories about tough and gritty Saginaw, a victim of deindustrialization, but he didn’t experience it directly. Now he is drawn to that site to come closer to the life that had been mediated to him so that he can connect with it more intimately and to test the sensibility of “prestige from below.” Read the rest of this entry »
Cutting and collaging advertisements to fill the gallery with a herd of cattle—bright, cacophonous and just on the edge of perception—Oehlen’s new show at Corbett vs. Dempsey is called “Rawhide.” The cows-on-canvas (which seem intimidatingly large, though they’re almost all just shy of five feet by six) are rounded up for market, but Oehlen has confused the juxtaposed advertisements to the point of mere decoration, so they can’t sell us anything beyond themselves. True to “Rawhide,” the 1959-1966 TV series that saw cowboys lead a cattle drive to market, Oehlen is giving us cows neither here nor there: the bovines shimmer in and out of view, competing with the flashiness of billboards. The theme song incites us, like the collagist headed to market, to “Cut ’em out/ Ride ’em in.” Read the rest of this entry »