Arts – Page 2 – [art]seen

REVIEW: 14+14 at WSG Gallery

March 1, 2025March 1, 2025 Maggie Watson Leave a comment

Located in Kerrytown about a fifteen minute walk from the Diag (and only steps away from two other local galleries), WSG Gallery is an artist-owned gallery that displays and sells work by its 14 members. Among their number is Stamps School of Art & Design Professor Nora Venturelli, who teaches many of Stamps’ figure drawing and painting classes. While WSG’s work is priced well above a typical student budget, it can be visited and admired for free, and new shows are installed almost monthly.

For their annual “14+14” show in January, each member of WSG invites one additional artist to join them for a large group exhibition. This year’s invited artists included Stamps professor Lee Marchalonis, who teaches printmaking and artist books classes, and Stamps student Denali Gere. (Disclosure: I’ve worked with three of the artists in this exhibition in the past—with Venturelli and Marchalonis as professors, and with Barbara Brown during a visiting artist workshop.)

Denali Gere, “Hummingbird in the Great Fire – triptych.” Linoleum print on BFK paper.

With a total of 28 participating artists, the exhibition was packed with colorful artwork. The walls of the main gallery space were covered with artworks that spilled over into a small back room and downstairs into the basement. They covered practically every medium, including painting, drawing, photography, printmaking, fiber arts, and mixed media. Shelves and pedestals also held three-dimensional work like artist books (Barbara Brown) and ceramic sculpture (Monica Rickhoff Wilson, Marcia Pollenberg). One striking fiber installation by Boisali Biswas hung from the ceiling in the center of the room.

Cathryn Amidei, “Canopy.” Handwoven Jacquard, cotton, linen, synthetic.

It was exciting to see the work of members of the Stamps community on display in a professional, off-campus gallery setting. Nora Venturelli had several expressive, layered figure paintings and drawings on display. Lee Marchalonis’s work included a series of monoprints that depicted the soft glow of candlelight with hazy blue ink. And Denali Gere showed off her talent with astonishingly intricate linocut prints.

It’s difficult to choose standout pieces from an exhibition with so many strong works. There was much to admire in the broad array of media and styles, but I found myself particularly drawn to the fiber works, such as “Canopy” by Cathryn Amidei. Amidei uses a computerized jacquard loom to hand-weave detailed images with a mix of fibers. “Canopy” is filled with beautiful variations in texture that mimic the feeling of looking up through the branches of a forest overhead, with light streaming through the leaves. It was an image that felt immediately familiar and calming to me, captured perfectly in textile. Other works by Amidei in the exhibition depicted human figures, with the same skilled eye for light and form.

Boisali Biswas, “Echos of a Left Behind Place.” Fibers.

Another captivating fiber work was Boisali Biswas’s “Echos of a Left Behind Place,” composed of several textile elements hung in layers to create a domestic scene of a balcony with laundry hung out to dry. The subtleties of color and texture in Biswas’s weaving welcomed me in, but the gauzy fabrics made the scene feel delicate, tinging it with a feeling of nostalgia and memory.

As with any wide-ranging group exhibition, not every piece spoke to me. But the abundance of excellent work made the exhibition as a whole feel like it was bursting with creativity. The 14+14 show left me excited to return to WSG Gallery for future shows. For students looking to expand their horizons, I would absolutely recommend taking a trip off campus to see what the Ann Arbor artistic community has to offer.

REVIEW: Hot Coffee, Cool Jazz

March 1, 2025March 5, 2025 Andrew Teel Leave a comment

Your early afternoon cup of Joe may be best served to a near burning temperature, but jazz on the other hand may best be served cold. A Flint resident looking for live jazz groups may find themselves to be surprised when they happen to come across the highly acclaimed Paul Keller Quartet in humble Holly Michigan. The Paul Keller Quartet has been shattering the Detroit jazz scene since 2011. One may often find the group in a bustling jazz lounge or restaurant throughout Ann Arbor and the greater Detroit area, but for this past Tuesday, Holly residents were welcomed to a more personal and intimate experience right in the towns’ cozy library.

Alongside coffee and decadent bite size pastries sat a quartet with genuine love for the craft.

“Yeah man, give it to me!” exclaimed an engaged Sarah D’Angelo while entranced in her collaborator’s spontaneous creative auditorial flow.

It’s something you like to hear, the engagement, the mid-song applause and praise, being feet from performers, one can close their eyes, and interrupt their surroundings as a communicative gathering for personalized expression. Don’t close your eyes for too long, for when looking at the performance you can see the passion put forth in the faces of the artists’ subtle (and maybe not so subtle) gestures communicate their truths through facial expression. It seemed while one player took a solo, the others happen to be singing or scatting the melodies they had just produced.

Every artist brought a unique color to the performance provided a clean and collective combo array of sound. The blend of clarinet and tenor saxophone especially crafted a dark inflection of the lows that complemented the upper clarion register of the clarinet. As both a clarinet and tenor saxophonist myself I find myself amazed at how these two instrument colors merge, I feel inspired to write harmonically for these two horns in my own original material.

Paul Keller wrote many arrangements of the works played that evening proving his myriad of utility as performer, artist, and creative writer. I found it quite compelling how for one of the tunes the saxophone was written over the clarinet for the melody. The upper range of the saxophone combined with the low register of the clarinet displayed a low smokey undertone not many works utilize. A creative choice of breaking the rules of typical western harmony one may say.

Two original songs draped the small library that evening. Two tales of the passing and coming seasons, winter and spring. The work titled “winter song” featured the jazz singing of Sarah D’angelo along with a the tenor saxophone in the upper register, giving a cold whisper presence. The song personified both the season and the weather, this was followed be delightful solos in a “cool” jazz type of style. “Frosty winds say hello…”

The song focusing on spring was unique as it was written the day before the event, making this work a welcomed premier. Paul Keller spoke on how when he wrote the song, the title was the start of the creative process. Following the title, the chords, melody, and words came to him quickly. “Spring is just around the corner” also used personification when talking about the changing weather. Steve Wood turned to the flute which reminded me of the Grieg song, “Summer Mood.” Flute is synonymous to me with warm weather and early mornings, which may be what the artist was going for. Following the chorus the song sped up which made me reflect on the speed of time and the changing weather. Ralph Tope on the guitar provided a strong harmonic groove with a relaxed but consistent feel. The colors of the strings blended great with the horns, allowing all voices to balance.

Cool Jazz is a subgenre of jazz that was popularized by the jazz trumpetist Miles Davis. This style of jazz focuses on a walking but relaxed tempo and a prioritization of memorable and tasteful melodies when improvising. The quartet made everyone feel welcome and I found myself enjoying every moment. I am excited to see more of what these artists have to offer for future events.

Following the performance I was able to speak with the group. Prioritising small local concerts allows audience members to greet artists directly, something many people wish for when wishing to talk to their artistic influences.

I was able to talk to Steve Wood and get his take on what artists influenced him the most. Steve Wood is influenced by artists such as Yusef Lateef, Dexter Gordon, Ben Webster and Sonny Rollins

These great jazz giants defined and captured styles of the genre. Steve wood noted he transcribed several Dexter Gordon solos, and I can hear it in his sound. The dark subtone inflection is strong in his sound. The jazz language spoken by Steve wood was one that captures elements of all his inspirations. Jazz is a melting pot of what is picked up by the listener. You are what you eat? You are what you listen to!

When a celebrity is asked for a backstage interview what is the most common question the interviewee asks? What can you say to those looking to follow in your footsteps of course! I ask this question not only as a reporter but also as an artist with an increasing drive for jazz. Sarah’s answer was one that was simple but non the more true and possibly the most important. Play. Play often. Get out and find those with similar interests. I found that there is no substitution for experience. I can tell from

this show that Sarah D’Angelo has played countless gigs and presented herself as a courageous and wonderfully charasmatic jazz singer and clarinetist that was a true pleasure to listen to. Sarah recommends newer jazz musicians to head out to Arethas Cafe, a jazz sit-in that focuses on education and learning, hosted by Scott Gwinnell every Sunday. I am hopeful the culture of jazz continues to grow. Going out and playing is a great outlet for individuals to express themselves.

This concert was made possible by the wonderful staff and directors of the Holly Township library. Notable efforts such as Tina Russette, the adult services manager, and Greg Hayes the library director allow concerts and events like this to be a regular occurance. The Holly Township library has several upcoming events that Flint campus locals can look forward towards. A belly full of piping hot coffee and jelly filled pastries held down the audience as they whisked into a warming but still winter night as cool and relaxed melodies packed the listeners ear in delightful hums.

REVIEW: Strange You Never Knew

February 23, 2025March 10, 2025 Chloe Huang Leave a comment

When first entering the exhibition, the words that immediately greet the viewer are “Please Take Off Your Shoes.” The title of this series reflects a custom common to many Asian households— a sign of respect for the host and a gesture of humility.

Strange You Never Knew marks artist and photographer Jarod Lew’s first solo exhibition, centering on the interplay between personal identity, generational stories, and a larger community. The idea of ‘knowing’ is not only Lew’s exploration of his identity but also asks the viewers to question the extent they know about others. With the title Please Take Off Your Shoes, Lew establishes the concept of exploring customs and stories rooted in his Asian heritage that is often obscured, inviting us into these invisible spaces of his community. The intimacy of these interior spaces and connections between humans serves as a contrast to the external perceptions of Asian American communities that tend to be surface-level and binary.

Exhibition panel featuring the Please Take Off Your Shoes placard

The exhibition consists of four sections— Please Take Off Your Shoes, In Between You and Your Shadow, Mimicry, and The New Challengers Strike Back—each examining the contrast between reality and perception. At times, Lew’s works are laced with humor and amusement. Try playing The New Challengers Strike Back where the goal is to beat up a car. Take a close look at the family-style slideshow in the living room and you’ll find that many of the photographs are of Lew’s face edited onto old images of white, suburban families. In one image, he’s a young boy at a birthday party, and in another, a doting wife. But there’s also a disturbing reality to other photos shown in the sequence: untouched photographs of midwestern communities hosting “Chinese Block Parties” featuring costume-like versions of traditional Asian attire. However, with these photographs in conversation, there’s a third element: genuineness. The other untouched photographs are the ones featuring the lived experiences of Asian Americans.

Genuineness pervades through the collections of works. At times, there’s a solemn beauty in the ways Lew captures his subjects, particularly his mother. This series was inspired by Lew discovering his mother had been engaged to Vincent Chin, a Chinese-American man who was beaten to death by two white automotive workers. Despite his mother’s wishes to be obscured in the photographs, Lew’s photographs preserve the stories that might have otherwise been lost in history. Vincent Chin is a name that reverberates in the Asian American narrative, but what of the other entangled stories?

I had the privilege of hearing both Lew and curator, Jennifer Friess, speak about the work, and hearing the stories behind the pieces accentuated my experience. I loved hearing about how shooting one photograph with his dad, the one where he sits wearing his post-officer uniform, made his dad cry. I remember Lew saying how his dad felt like he was wearing his old self again, this period of strength in his life. And how when Lew was departing for Yale, his father suddenly told him his grandfather was an enthusiastic photographer and showed him a box of his photographs, many of which appear in the exhibit.

This collection of photographs explores a necessary conversation about layers– the profound nuances within Asian American culture, the stories that trail between generations, and the histories that trickle into the present. Strange You Never Knew presents a powerful juxtaposition, true to the complex nature of identities emerging from different backgrounds. It is simultaneously humorous and playful, while also deeply reflective and personal. Most of all, it is welcoming in nature. While the perspectives in the exhibition may be something familiar or unfamiliar, the space is asking you to be open— to (metaphorically) take off your shoes. What awaits behind the door is an obscured hand, holding up a sign of love.

Strange You Never Knew: A Solo Exhibition by Jarod Lew is on view at UMMA through June 15th.

REVIEW: Pan-Tastic: Korean Singer of Tales Meets Jazz

February 20, 2025February 20, 2025 Andrew Teel 4 Comments

The origins of jazz are often noted to have taken place in African tradition and early American life styles, but with the popularity of jazz throughout the world, it is of no surprise that the genre has been interpreted and retold through many cultural lenses as years come. On a winter morning of Wednesday February the 12th, the University of Michigan Flint was welcomed to a unique and fresh twist of Korean traditional music and folk stories with the deep entwined American styles of swing jazz. This concert was organized and directed in part by Kelly Craig, Brian Diblassio, and the other talented musicians you will read further about.

Before viewing of the concert, it is important to understand the art of Pansori in Korean culture. The word Pan in Korean represents an interactive stage experience that breaks barriers between audience and performer, allowing a more intimate and involved experience. Pansori, a similar word, combines Pan with the Korean word for song (sori). The art of Pansori combines singing, storytelling, and musical gestures for audiences.

Pansori storytelling enhance through body gestures and personal expression

In a traditional Pansori performance, only a single drum with a vocalist is used, but for this performance a jazz rhythm section joins the fun with the addition of Lisa Sung (Piano), Tom Knific (Bass), and Kevin “Bujo” Jones (Drum kit). Hee-Won Park connects the ensemble in a very traditional sense. Hee-Won Park dawns a beautiful and traditional garb known as a Hanbok. The floral covered dress is distinctive attribute to the performance of pansori, along with welding her customary buk drum and creative storytelling. With the addition of a rhythm section, the Pansori experience is largely

Hee-Won Park Singing In front of her drum (Buk)

altered in a rather charming and inviting way that has never been previously seen before. Many mark jazz as the root of free expression in music. One must look openly at the colors that unfold, and not that is written on the page. Combining the free improvisatory nature of the artform with stories that have been passed down, allows both artist and audience to manifest themselves to unique interpretations of every single musical motif and idea presented. I found that our mainly american audience, who may not understand the unknown and alien culture of foreign origin and traditions, were able to connect much more smoothly, and were able to have greater takeaways from the pansori performance by having the addition of iconic jazz textures

Although all works displayed at the performance had a story attached to the music, a select few stood out to me in particular. One of these is Heungboo’s Song. Heungboo’s Song comes from a traditional childhood tale about a poor but kind man who comes across a swallow bird. Heungboo sees the swallow in despair over an injured leg. After nursing the bird back to health, Heungboo is given a bountiful gift from the swallow; a large gourd that contains treasures for the poor man. Using a saw to cut open the gourd, Heungboo pulls out endless amounts of rice and money, and with his generosity he goes to provide for his community. In this song, the sound of the saw cutting through the large gourd can be heard through the instruments. Pansori uses special vocal inflections and spoken word. Telling of Heungboo’s tale with the addition of a groove and feel from a jazz scope allows listeners to relate to the tale and experience a truly unique and legendary performance. Combining rhythm and emphasis on certain beats allowed the performance of spoken words to almost sound like a form of rap or R&B. Combining multiple cultures not only creates a new experience but also highlights similarities across other genres that are present throughout the world.

What also caught my interest was the opening of the concert with the instrumental work titled “New Year Song.” This piece is based on a child nursery rhyme in Korea, that celebrates the new year. With it now being the second month of the year the work was very appropriately timed. This work sounded like a classic jazz standard that one may find in Detroit or any local jazz venue. This is not a criticism but rather praise on how well certain musical motives heard in previous context can be adapted for a small jazz combo and improvised over.

Lisa Sung taking a solo over “New Year Song”

One can still hear pentatonic sounding themes throughout the song, and there was still a very asian jazz sound that may be hard to classify. The origins of many jazz charts originate in the world of musicals and even operas, jazz is all about rewriting and remixing old ideas with a new hip context. This piece specifically rotated through several grooves such as swing and bossa nova during the solo section. Even though the work is based on Korean origin, several cultures combine in a melting pot of sound and discovery. The Piano solo starts in the key but Lisa Sung dables with exploring and playing out, providing whole tone colors. The language of blues is also present throughout the performance. This work was very graceful and reminded me of what it would feel like to fly. The bright opening of this work comes to an end with a strong sustained dark note from the bass side of the keys.

To close, the Pan-Tastic performance seeks to connect with audience members and come together to share relatable stories from a childhood setting while also spreading the message of love and togetherness. The Group plans to take this project to multiple locations and is currently getting ready for their performance on the Dearborn and Ann Arbor campus. I am always excited to hear new unique angles of the jazz idiom, and Pan-tastic was a delectable treat for a cold winter morning and a refreshing twist to start this new year.

Left to right: Kelly Craig, Brian Diblassio, Lisa Sung, Kevin Dalton-Jones, Hee-Won Park, Tom Knific

Lastly I would like to credit the wonderful organizations that made this event possible. The Nam Center for Korean studies, has enriched the community in cultural experiences that previously would not have been possible. Evan Vowell, Minyoung Song, and Tina Griffith are credited for being involved in allowing this event to take place. University of Michigan-Flint faculty, Audrey Scribner, Kelly Craig and Laura McLeman were also heavily involved in allowing this to take place. As both a musician and audience member, I am extremely excited to see what future events take place.

REVIEW: A Prison, a Prisoner, and a Prison Guard : An Exploration of Carcerality in the Middle East and North Africa

February 20, 2025February 20, 2025 the eye online Leave a comment

Featured Image: Marc Nelson (left) is an Illinois-based artist whose work documents the war crimes, and human rights violations occurring in Syria, Yemen, Myanmar, and the United States, and is featured in the exhibition. He is pictured with his friend and martyr of revolution Mazen Al-Hamada, whose verbal and visual testimony are also featured. Mazen was forcibly disappeared and later murdered in the “slaughterhouse” prison of Saydnaya in Damascus, only days before the toppling of the Assad regime.

CW: Depictions of Torture (Illustrated) and Discussions of Carceral Violence, Torture, and Death

The notion of human nature implies certain universalities amongst all people, suggesting an intangible connection between everyone who has ever lived, everyone alive now, and everyone who has yet to live. The tangible products of creative expression that we call art could be described as the physical manifestations of human nature. Thus, an artist’s humanity and identity become immortalized by their act of creation.

But what about those who cannot create art freely? Whose voices are silenced by carceral institutions designed to dehumanize and disenfranchise? Human nature does not simply vanish, and neither do those who are incarcerated.

A Prison, a Prisoner, and a Prison Guard: An Exploration of Carcerality in the Middle East and North Africa (MENA) is only the second exhibition I have encountered dedicated solely to incarcerated and prison-impacted artists and communities, a troubling reality I believe reflects the overwhelmingly negative Western and global attitudes towards incarcerated people.

Curators Susan Aboeid and Sumaya Tabbah of The Hafathah Collective, with organizational collaboration from U-M Students Organize for Syria (SOS), in partnership with U-M Library, and with support from the U-M Arts Initiative, have created one of the most poignant traveling exhibitions I have ever had the privilege of viewing. The geographic coverage of the MENA region is extensive, with prison art from Algeria, Egypt, Iran, Iraq, Lebanon, Palestine, Sudan, Syria, and Yemen, effectively revealing the devastatingly similar carceral realities of these countries. The exhibition, however, resists exceptionalism by asserting that prisons in the MENA region are not bad because the area is bad, but because the prisons and those who run them are detestable. Untitled by Unknown, Undated, Yemen is a visual testimony smuggled out of prison by an unknown artist, depicting methods of systematic mass torture implemented in UAE-run prisons in Yemen. This piece grapples with the exhibition’s tension of understanding prison art as testimony versus aesthetic, the former allowing the works to transcend carceral geographies and speak to the visitors, who in turn, speak to each other. Thus, the gallery becomes a space for those who have survived these prisons but can’t go back, a chance to reconcile their experiences and emotions.Another work, Broken Oaths by Razaan Killawi, 2021, Syria, depicts former Syrian president Bashar al-Assad atop excerpts from his inaugural address, “…a speech laced with assurances of unity, reform, and national pride — words that starkly contrast the realities of oppression, fear, and violence experienced by Syrians” reads the object label. Much like Assad weaponized language to legitimize injustice and oppression, the prison experience is carefully designed to legitimize the disintegration of communities under the false notion of “protection”. What is truly protected within these prisons is the truth — the truth about the unbearable reality so many people experience, which they can only later describe as “being suspended between life and death”.

Whether we are separated by oceans and borders, language and culture, walls and bars, or armed guards and authoritarian regimes, we remain forever connected to our family and friends on the inside. This heart-wrenching exhibition, which will remain open until March 30th at the Hatcher Library at U-M, reminds those of us on the outside that those inside are still with us. I implore everyone who is able to take the opportunity to be with these artists through their immortal testimony, and hear their voices which will not be silenced.

REVIEW: Look-Alike Dance Performance At Dearborn

February 16, 2025February 16, 2025 vprayag Leave a comment

The Look-Alike Dance Performance, presented by IGSAB, transformed Kochoff Hall into a stage for some of the most captivating performances of the night on January 24th. This unique event challenges dancers to embody the styles and personas of iconic performers, paying tribute while adding their own artistic flair. With a lineup of around a dozen participants, each dancer was either preselected or volunteered to represent a well-known figure, ranging from Bollywood superstars to classical legends. Some performances were solo acts, while others featured duets or group numbers, creating a dynamic and diverse showcase of talent.

Rohan Mehta delivered an electrifying performance inspired by Bollywood superstar Hrithik Roshan, known for his foot-tapping numbers and effortless moves. The moment Rohan stepped on stage, he exuded confidence, and his dynamic presence instantly captured the audience’s attention. His footwork was razor-sharp, every turn executed with finesse, and his energy never wavered.

What set Rohan apart was not just his ability to replicate Hrithik’s style but his command over the stage. He didn’t just perform; he owned every beat, letting the rhythm drive his movements. His transitions between power moves and fluid sequences kept the audience engaged, and his charisma added a natural flair that made the performance all the more compelling.

However, at times, the transitions between sequences felt slightly abrupt, making certain parts of his act seem less seamless than they could have been. Despite this minor flaw, Rohan’s presence and energy made up for it, and the crowd responded with resounding applause. His ability to engage the audience and maintain his stamina throughout a demanding routine spoke volumes about his dedication to the craft.

On the other end of the spectrum was Sana Malik, who embodied the grace and elegance of Madhuri Dixit in Dola Re Dola. As she stepped onto the stage, adorned in a flowing green and gold costume reminiscent of Devdas, a wave of excitement rippled through the audience.

Her performance was a masterclass in classical dance, marked by delicate yet powerful movements. Every footstep was placed with precision, her hand gestures flowed effortlessly, and her expressions told a story that resonated with the audience. Unlike the high-energy performances of the night, Sana’s act was all about finesse; she captivated not through speed or power but through sheer artistry and control.

While her technical execution was flawless, adding a bit more audacity—stretching her movements farther, expanding her presence on stage—could have made an already stunning performance even more powerful. Classical dance thrives not only on precision but also on projection. Still, her mastery over the art form was undeniable, and she left the audience in awe.

Both Rohan and Sana brought something uniquely beautiful to the stage—one with raw, explosive energy and the other with poised, classical elegance. Together, they embodied the true essence of the Look-Alike Dance Performance: movement, talent, and transformation.

More than just a showcase of mimicry, the event was a celebration of dance as a performing art, blending cinematic inspiration with personal expression. As the night came to a close, the energy in the room remained high, a testament to the lasting impact of these unforgettable performances.