Author: avameester

Ava is a current junior majoring in Art & Design. She is also minoring in writing and business, maintaining a well-rounded interest in many different art forms.

PREVIEW: Survivors Saving Survivors: Photographing the Ukrainian Refugee Experience in Poland

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In 2022, photographer Chuck Fishman traveled to Poland to photograph the influx of refugees from Ukraine. He wasn’t capturing the devastation and agony of the war, but rather something optimistic: the power of humanity in healing and uplifting communities and the ability for different groups to band together in times of exhaustion and pain. The Copernicus Center for Polish Studies, or CCPS, is holding an exhibition of Fishman’s work, titled Survivors Saving Survivors: Photographing the Ukrainian Refugee Experience in Poland. Surprisingly accessible at 547 Weiser Hall, which is right next to the Central Campus Transit Center, this exhibition is a great opportunity for students to learn about global current events, empathize with victims of crisis and war, and view the extraordinary work of an acclaimed photographer.

As a traditional artist, photography hasn’t been within my range of intense interests, but recent coursework and experimentation has led me deeper into the realm of reportage photography. I find photojournalism that has an empathetic and humanitarian approach fascinating— when the photographer strives to portray the complicated humanity within global crises, the audience is shown something emotionally important that is not typically portrayed through unbiased journalism. Chuck Fishman is noted— and has received awards— for his often black-and-white portrait photography of social and political issues in particular. He initially photographed Jewish life in Poland since 1975, and has traveled around the world to capture everything from the energy of political figures to joyous cultural moments in jazz clubs. His photographs have appeared on the covers of Time, Life, Fortune, Newsweek, The London Sunday Times, The Economist, and many others. I am intrigued to see how Fishman has portrayed the current crisis. and what kind of narratives can be brought to the surface.

The exhibition runs through April 28th, and it’s smack in the middle of central campus, tucked where you wouldn’t even notice it. Head to the International Institute Gallery at 547 Weiser anytime between 8am and 5pm to see some incredible work from an experienced artist and learn more about the Ukrainian refugee experience in Poland.

REVIEW: 27th Annual Exhibition of Artists in Michigan Prisons

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Each year, the Prison Creative Arts Project (PCAP) at the University of Michigan organizes an annual exhibition to celebrate the 2D and 3D artwork of incarcerated individuals across the state. This year, the exhibition features works from 360 artists from 25 prisons, forming a stunning mosaic of 625 works— all with different stories to tell and drastically different mediums, but sharing a common passion for art as a mode of self-expression.

The work in the gallery is as diverse as you could imagine within a single gallery space, and far more diverse than you would expect from within prison walls. In terms of incarcerated artists’ resources, few are available; their small budget, when it fails, must be supplemented by any disposable material or item allotted to prisoners, such as toothpicks, tissue paper, ramen, and even blood, which are all used as mediums within this exhibition. The fragility of their resources doesn’t dampen the quality of the artwork but  rather imbues it with tenacity as well as a sense of masterful resourcefulness. This exhibition feels alive and buzzing with deep tension, each piece attesting to an emotionality that begs to be expressed even within despair and scarcity.

Condemned by M.J. Van Meter

When I stepped closer to a painting of a skeletal figure, one of many finely detailed works on a gallery wall, I realized that it was not a painting, but delicately carved bar soap with a layer of acrylic paint on top. I imagined all of the hours put into the construction of its curves, likely with a subpar or illegitimate carving tool. This painstaking work stands as evidence of the indomitable desire to create, and its transcendence beyond physical restraints; for incarcerated artists, art is both a beacon of hope and a weapon to break down the dehumanizing stereotypes surrounding imprisonment, rarely just a hobby.

Institutional Lobotomy by LIAM

Much of the art depicts the cruelties of the prison system— the separation of families, the bitter absence of human necessities, and the burden of emotional trauma. Many of the artists work in paint on canvas, although the two-dimensional art ranges from pen drawings to multimedia collages. The pieces most directly confronting incarceration are particularly colorful in their variety of expressions. Some artists took a surreal or even abstract route, inventing grotesque characters to represent their psyche; others pulled striking scenes straight out of reality, painting haunting memories with vivid oils. By contrast, a large portion of the works present placid and euphoric scenes— flowers pressed into ornate designs, loved ones with the sun beaming on their faces, three-dimensional log cabins made from scavenged materials— also expertly crafted. The passion poured into the more joyful work is just as evident as the passion put into the grim work, because, as a typical human response, hope is an essential component of resistance. By depicting some simple yet so out of reach, artists are reminiscing, or dreaming, or simply reclaiming their happiness from the oppressive grip of incarceration. Their labor-intensive work, done purely for the sake of it, is a slap in the face to a system that promotes and thrives off of the squashing of the human spirit. Art is resistance.


A Patient Man by Albert Krakosky

Much of the art is for sale, and some pieces cost as little as $10! The proceeds for sales will return to the artists so they may be used to purchase higher quality art materials. To learn more about PCAP, their mission, and to see (or buy!) the beautiful works of art in the exhibition, visit the gallery in the Duderstadt sometime before April 4th! The gallery is open Tuesday to Saturday from 10am to 7pm, and Saturday to Monday from 12pm to 6pm.

Featured Image: Portrait of Kamilla by Willie Anderson

REVIEW: Yves Tumor – Praise A Lord Who Chews But Which Does Not Consume

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On March 17th, Yves Tumor released the anticipated follow-up to his 2021 EP The Asymptotic World. The full-length album, titled Praise A Lord Who Chews But Which Does Not Consume (Or Simply, Hot Between Worlds), features singles released over the past year, as well as fresh new tracks that carry Yves’ signature sounds— a mesh of rock, pop, psychedelia, and darkly ambiguous lyrics hinting at Heaven, Hell, and everything in between.

I approached this project with a bit of apprehension; Yves’ 2020 album Heaven to a Tortured Mind reinvented my understanding of genre, combining ethereal vocals with experimental instrumentation to evoke the awe-inducing experience of watching the finale of a firework show. I wondered how— or if— this kind of collage of genres could be improved upon without losing its dazzling freshness. Praise A Lord Who Chews But Which Does Not Consume absolutely did not disappoint. Despite dialing down the erratic theatrics of previous albums, Yves Tumor has re-emerged as an artist who is confident in his artistic strengths and knows how to show them off. With the help of Grammy award-winning producer Noah Goldstein (Kanye’s My Beautiful Dark Twisted Fantasy), Yves’ signature sound is smoother than ever.

Praise A Lord notably conforms to genre, or at least a consistent voice, more than any of their previous projects. Yves finds the delicate intersection of theatrical pop and distortion-heavy rock, altering catchy pop melodies with thick and fuzzy guitar, layered instrumentation, and airy vocals that preach existential philosophies and poetic metaphor. The opening track, “God is a Circle”, was released as a single in November and remains my favorite on the album. It opens with a scream and heavy breathing that melts into the melody, establishing a tone of darkness and obsession as Yves drawls “Sometimes, it feels like, there’s places in my mind that I can’t go”. The rest of the tracks fall into a consistent formula; Tumor’s delicate vocals, evocative of Prince’s versatile emotionality, float over sonic atmospheres packed with erratic chord progressions and synths that feel alive. “Meteroa Blues” builds on its drums and guitar slowly, bringing the song to an energetic climax of intense noise. The hazy interlude in “Parody” feels like crossing a liminal space between worlds. “Echolalia” is the most danceable track on the album, with fast-paced drums ushering in a catchy vocal melody. The last track, “Ebony Eye”, reminds me the most of the dramatic crescendo and electronic sparkle of Heaven to a Tortured Mind which initially drew me to his music. Dramatic instrumentation, dreamy synths, and continually layered vocals create a landscape of sparkling colors and excitement. It’s the perfect ending to the album, encapsulating Yves’ willingness to try anything— and everything— at the same time.

Although Praise a Lord isn’t my favorite album (Heaven to a Tortured Mind always takes the cake), Yves has proven his maturity as an experimental artist. The album carries his ambiguous voice and imaginative style, but contains it within a more palatable (and radio-playable) format, balancing pop and rock song structures with contemporary instrumentation. Each track feels alive, having a mind of its own, almost always ending in a completely different spot and with a different attitude than where it started. It’s truly an immersive listening experience that is worth the time. Even if his unique approach isn’t something you are drawn to, it sparks thought about what genre is— or what it can be in the future, and what the pioneers of contemporary genres will sound like. Yves Tumor has, in my opinion, cemented his spot as a trailblazer of the future.

Praise A Lord Who Chews But Which Does Not Consume is available on popular streaming platforms. Yves Tumor is coming to the Majestic Theatre in Detroit on May 10th. Get your tickets while they’re still available for a unique live music experience.

PREVIEW: Yves Tumor – Praise A Lord Who Chews But Which Does Not Consume

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Yves Tumor has been an enigmatic figure in the music scene for years. Blending the boundaries between electronica, psychedelia, and rock, Yves Tumor has invented their own brand of contemporary pop that meshes crashing drums with passionate guitar solos to create an atmosphere of drama and emotional turmoil. Their upcoming album, Praise A Lord Who Chews But Which Does Not Consume; (Or Simply, Hot Between Worlds), is a long-anticipated follow-up to their 2021 EP The Asymptotical World. Four sonically diverse singles have been released since 2022, teasing the release of the album. My favorite is God is a Circle; one of their moodiest, more gothic tracks, this song combines creative sampling with dark and fuzzy guitar to evoke the sense of doom in a relationship that swallows you whole.

Although his uninhibited self-expression and colorful experimentation have led critics to draw comparisons to Prince and other rule-breaking trailblazers, Yves Tumor has a sonic personality that is completely unique and transcends genre. The ethereal soundscapes and emotional drama of Heaven to a Tortured Mind brought Yves into the public eye— the guitar solos on “Kerosene!” are to die for— and the release of erratically surreal music videos have further cemented Yves’ status as an artist— visual, musical, and lyrical— to watch closely.

Praise A Lord Who Chews But Which Does Not Consume; (Or Simply, Hot Between Worlds) is released March 17th on popular music streaming platforms. If you haven’t heard Yves’ music, I’d suggest listening to Heaven to a Tortured Mind and his acclaimed singles before the album’s release. Regardless of whether or not electronic-psychedelic-soul-rock-pop is something you’re interested in, their music is a unique and memorable experience that is well worth giving a chance. Following the album’s release, Yves Tumor is going on tour and making a stop in Detroit at the Majestic Theatre on May 10th. Grab tickets while they’re cheap!

REVIEW: GROW(ING): The 2022 Senior Exhibition

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As a Stamps student eagerly stepping into my second year, I find that any glimpse I can get into the work of upperclassmen at Stamps is a treasure. The talent of Stamps students, refined by years of practice, discipline, and creative freedom, is manifested into varieties of works scattered throughout Stamps hallways. Although I enjoy the intricate jewelry and fiber sculptures put on display, many display cases remain empty; I often feel a disconnect from my fellow art students, constantly craving a more in-depth look at how Stamps allows ambition to blossom. The Grow(ing) exhibition was the first deep dive into Stamps work that I have experienced, and it was transformative.

Grow(ing) is a senior exhibition, showcasing the work of BA, BFA, and Interarts students at Stamps. The exhibition is arranged as a maze of large cubicles, each containing the work of one artist, accompanied by a plaque. Art across all mediums is included, from time-based art to wearable sculpture to projections on a floor. The variety is what immediately struck me the most— each artist was able to convey their personal message in truly whatever format they wanted, and this allowed them to communicate effectively, each work standing out from the rest. Three-dimensional art forms dominated two-dimensional, noninteractive art forms in this exhibition, which was shocking to me. I feel as if most Stamps students enter the curriculum with a focus on traditional two-dimensional forms— drawing, painting, et cetera— but Grow(ing) emphasizes the students’ capacity to expand their comfort zones. Stamps’ encouragement to explore creative possibilities paid off in the form of plant-adorned mirrors and enigmatic ceramic furniture sets. Even with limited time on my hands, I couldn’t help but stop at each and every cubicle to absorb the individuality of each space and how the artist’s energy dominates it.

Many artists combined mediums to create deeply layered works. One of my favorites at the exhibition was Silencio by Lissette Quintanilla, a collection of beadwork wearable sculptures that were both displayed on the wall and photographed. Lissette explores her heritage, upbringing, and the intersections of her identity through these delicate sculptures, portraying symbols of identity in a three-dimensional format. Although the sculptures are small, the obvious dedication behind them gave them an air of sophistication that demands your attention. I found that many smaller works throughout the exhibition were outstanding in the same way— although small, they are mighty, carrying a powerful message in a compact and detailed vessel.

Many of the exhibitions were larger sets, complete with instructions on how to interact with the work, lighting elements to boost the atmosphere, or sound elements. Each cubicle represented a fragment of an enigmatic world, a brief glimpse into the colorful mind of a creator. For non-art students and art students alike, the Stamps Senior Exhibition— and any Stamps exhibition at that— is a gift. Student exhibitions are a source of inspiration that naturally renews, encouraging its viewers to create more art, which will build future exhibitions, which will be viewed by more creatives searching for inspiration, and the cycle continues. Art is a beautiful thing, and fleeting moments to stop and appreciate it should be grasped. I look forward to future Stamps exhibitions and you should too!

REVIEW: Reservoir Dogs

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Reservoir Dogs has Quentin Tarantino’s fingerprints all over it— or, rather, it is Tarantino’s fingerprint. The plot revolves around a group of laughably dysfunctional thieves that encounter trouble when an undercover cop joins their diamond heist. Obscenity-heavy dialogue bounces between twisted characters in a landscape so grim and hopeless that it borders on absurd. Morality is skewed in Tarantino’s world— one minute, the group is discussing the necessity of tipping waitresses, and the next minute a wailing bloodbath is dismissed as a careless blunder. As his writing and directing debut, Reservoir Dogs not-so-gracefully showcases Tarantino’s filmmaking and character-building style; he invalidates the idea that his characters can be redeemed but retains their humanity through witty conversations and vulnerable relationships. There are no villains, heroes, or even a plot structure that feels rewarding; everything is justified and so everything is disappointing. It’s a caricature of the consequences and tragedy of the real world, just framed in a more shocking and theatrical context, and with a lot more blood for a dramatic flourish.

Watching this movie in the Michigan Theatre felt like committing a sin. Reservoir Dogs felt too gritty and grotesque for the ornate and gilded antiquity of the theatre, creating this visceral irony. The experience itself was an oxymoron. Watching the film in such a comfortable space reminded me of the experience of watching Tarantino’s The Hateful Eight, a similarly gruesome tale of bloody stand-offs and unredeemable acts. There is no fitting place to watch these movies without feeling strangely guilty and disturbed, which I’m beginning to think is exactly the feeling Tarantino is trying to evoke. Reservoir Dogs is intended to make you squirm in your seat and want to avert your eyes but the magnetism of the characters won’t let you. This is bound to be a memorable experience regardless of whether you like the movie or not.

Being his directorial debut, Reservoir Dogs isn’t without its flaws. I had predicted that there would be close-ups of some feminine feet in this film— a weird fetish of Tarantino’s— but there were not. I attribute this to the fact that there were zero women in this movie for more than a brief second. Whether or not this is a flaw is a complicated question, because Reservoir Dogs is mostly set in a claustrophobic space with just a few key characters and the film makes a point of subtly ridiculing the hypermasculinity of the group. Constantly screaming at each other, the group of thieves is everything but emotional apt and professional. The explicit racism in the dialogue also felt a bit too far at times, although it also functioned to deepen the immorality of the characters. The script’s edginess felt a little forceful and phony but retained its entertainment value overall.

The consensus is that Reservoir Dogs is a staple Tarantino, but that also means it isn’t for everyone. If you’re in the mood to laugh a little while feeling thoroughly disturbed, check it out at your own risk. Catch another movie at the Michigan Theatre before the year ends. Don’t miss out on the cheap student tickets!