REVIEW: Japanese Prints of Kabuki Theater

Photo courtesy of the UMMA

Although the UMMA houses many intriguing exhibits, the Japanese Prints of Kabuki Theater has become a favorite for visitors of the museum. The art of kabuki theater, which is a classical form of Japanese drama that dates as far back as the 17th century, has been captured by colorful woodblock prints for the public to view. The exhibit currently showcases a collection of these prints, including those made by admired print-artists such as Utagawa Toyokuni and Toyohara Kunichika.

When I first stepped into the exhibit, I was greeted by oriental music and a large wall colored in blue, with text that described the art of kabuki theater. After reading the text, I make my way around the room—it was spacious, with clean white walls that had splashes of color from prints. These depictions of theater showcased famous actors and actresses in scenes from actual plays, as well as fictional ones. Some of the scenes included actors in disguise from enemies, lovers who were reunited, and battle scenes.

Photo courtesy of the UMMA
Photo courtesy of the UMMA

Among the collection of prints was a showcase for a bright red kimono with gold embroidery in the shape of various animals. This kimono was iconic for a specific kabuki actress, who was rarely seen wearing kimonos of other colors.
Next to the kimono was a TV that played a video recording of a kabuki theater performance from the late 1900s, a visual that seemed to bring the prints to life.

Overall, visiting the exhibit was a wonderful experience. I was enlightened of an aspect of Japanese culture that I did not know existed. Don’t miss the chance to view the exhibit for yourself—it will be at the UMMA until the 29th of this month, from 11AM – 5PM on Tuesdays through Saturdays, 12PM – 5PM on Sundays!

REVIEW: David Zinn Workshop

Photo courtesy of Viral Forest

The Ann Arbor District Library hosted local artist and University of Michigan alum David Zinn for his workshop—Drawing from Your Imagination with David Zinn—on January 5th in order to share his artistic techniques with those who attended. Although Zinn is well-known for his chalk and charcoal works on city streets and buildings, this artist used the Thursday afternoon to delve into the creative thought process of his artwork.

The workshop took place in the library’s multi-purpose room, located in the basement. I arrived five minutes past one and found myself in a room bustling with locals both young and old, all enthusiastic to hear from the artist. After they found their seats and chatter hummed down to faint whispers, Zinn introduced himself to us through light jokes and references. His words were accompanied by a slideshow of his latest street art pieces, which were certainly entertaining to look at.

One of the works that Zinn featured in his slideshow. Photo courtesy of Demilked

Zinn’s introduction eventually transitioned to demonstrations of his creative thought process. The artist first explained to his audience how blank canvases were intimidating to him, as ideas for art were limitless and therefore overwhelming. Having a canvas with a mark, however, gave Zinn a starting point for his ideas, even if that canvas happened to be a sidewalk with a line of grass. Zinn then elaborated this point by having attendees engage in drawing exercises where everyone would make a scribble, swap papers with someone else, and see what they could draw from that scribble. After everyone saw the products of this exercise, Zinn facilitated another drawing exercise where one person would draw on a folded sheet of paper and another person would complete the drawing on the other side. By viewing art that was created from canvases with a mark, everyone, including me, had a better understanding of where Zinn was coming from.

One of the drawings made from the second exercise of the workshop. The top half was drawn by me, while the bottom half was drawn by another attendee

The workshop ended ten minutes after two, with applause from attendees. I was content with what I learned from the workshop, and am considering on attending future workshops by Zinn in the Ann Arbor District Library.
If you happened to miss out on this opportunity with a local artist, be sure to check the AADL website to see when the next David Zinn workshop will be!

REVIEW: Artists of the Photo-Secession Gallery Tour at UMMA

When did photography become an art form? At some point, the technology for capturing images of people, places, and things developed enough that people could start adding artistic flair.

At the turn of the 20th century, a young Alfred Stieglitz had a radical idea that photography could be art, which clashed with ideas of older, more established members such as Charles Buadelaire, who considered photography nothing more than a “servant of the sciences and arts.”

Luckily for us, Mr. Stieglitz would have none of that. He formed the Camera Club of New York and started an avant-garde photography journal that changed how people saw photography.

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These new artists, rather than simply pointing and shooting, used more artistic methods for their photographs. They took pictures with a soft focus to try and emulate the “look” of paintings. They used more expensive materials to get better contrast of lights and darks. They printed on Japanese paper, because nothing says classy quite like Japanese paper.

Seeing the pictures was enough to see the transition to photography as an art form, but going on a tour of the exhibit helped place the photos in a social context.

Our photo-secession-3stupendous tour guide compared two images of the Brooklyn bridge and pointed out how one was a standard picture of a bridge, while the other focused on the shapes and form of the structures of the bridge.

At the end, we learned about Stieglitz’s most famous work, The Steerage. He considered The Steerage to be his most important work because, while I only saw an interesting photograph with a lot going on, we learned that there was a deeper meaning.

The Steerage was one of the first photographs to make a social statement. Before the photograph of the protester in Tienanmen Square, or anything from Vietnam, there was a photo showing two separate classes in one photograph: the immigrants both literally and figuratively below the rich on the same ship.

The exhibit made it easy to see why opinions changed from viewing the camera as merely a gadget, to viewing it as a tool of the artist.

All the hard work put in by the photographers to distinguish their work as art, however, made me stop and think. In the era of iPhones and Instagram, where anyone can take a decent photo, are we regressing to a time where the photography is becoming a lesser art form?

PREVIEW: Artists of the Photo-Secession Gallery Tour at UMMA

When did photography become an art? At some point, people took cameras and tried to capture people and places and things not simply for the sake of capturing them, but for the beauty of it. This was the beginnings of pictorialism.

As the UMMA web site states about the early pictorialist photographers:

Their poetic compositions drawn from contemporary life, combined with the use of expensive and labor-intensive printing materials such as platinum and gum bichromate, established these photographs as complex and nuanced works of high artistic quality.

The exhibition is open now and will remain open until March 5th.

Their next FREE upcoming gallery talk/tour is:

Sunday, December 11th at 2pm

Check out their calendar here for more information on the other upcoming gallery talks:

January 15th at 2 pm

February 19th at 2 pm

REVIEW: Helicon’s Synesthesia

Friday night’s Synesthesia was the first Helicon event I’ve attended, so I had no idea what to expect – which is usually the most interesting way to enter into an art show. It was what I can only describe as a down-the-rabbit-hole experience; from walking in the door, past crowds of people, art was found in the corners stairwells, in the basement, in the attic. At one point, I wasn’t sure if I was standing in line for the bathroom or for an art installation. Not only did I double take at the art, but at UM faculty milling about past students: not an everyday occurrence outside of the classroom, at 10 p.m. on a Friday night. Synesthesia featured the work of dozens of students; mediums ranged from sculpture to photography, from painting to video installation.

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Image from @umicharts

The space itself was immersive; as I stood looking at sculptures in a basement where exposed cement walls and open staircases were not an artistic design choice, I began to fear for the strength of the structure as I could hear every footstep and movement above me. The element and adventure of risk became a theme as I climbed past people up steep stairs not equipped for a dual-flow of traffic. As I sat on the floor of an attic, staring at an image projected onto a sheet asking myself when the show was going to begin or when the technical support was going to arrive, I realized it already the show had already begun. The fuzzy image on the screen was the art, the music in the back the focus. It was then I began to question whether or not I am equipped to “get” art. Regardless, my favorite piece of the night, a readymade (which is the embodiment of comedy gold in the art world; an artist with a sense of humor) consisting of a Virgin Mary figurine titled Abstinence. Lesson learned: you do need to be literate in the ways of painting/drawing/sculpting to be considered an artist, merely innovative.

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Image from @umicharts

If Synesthesia intended to create an experience, an art piece in itself, it succeeded. At one point, while standing in a hallway waiting for a mass of people to pass by, a person crawled out from behind a black sheet, pulling themselves up from what I can only hope was a work of experiential art. Some say you can find yourself through art; if this holds true, I’ve come to find I am the equivalent of a suburban mom of the art world. I may not understand what’s going on, but I am so ready to cheer on every student out there making, creating, and putting their work and themselves out there.

PREVIEW: Helicon’s Synesthesia

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UM’s campus is hardly lacking for artistic talent. In its varying forms, students are quick to represent their abilities. Helicon, the History of Art Undergraduate Society, will be giving a space to such talent and displaying student curated and student made art in a one night only pop-up exhibition titled: Synesthesia. The event is open to any and all looking to check out some art in a cool and casual setting.

Synesthesia will be taking place on November 18, 8-11 p.m. at 504 Catherine St.