Tag: visual art

REVIEW: Threads of Justice and Legacy: Lester Johnson Art at the Stamelos Gallery

vprayag Leave a comment

Visiting the Stamelos Gallery at the Mardigian Library on Monday was a powerful experience that gave me a deeper appreciation for Lester Johnson’s work. Stepping into the space filled with his vibrant pieces, I felt the energy of his journey as an artist, a journey that is deeply rooted in the history and culture of Detroit and the broader African-American experience.

The exhibition, FOUR: Lester Johnson’s Selected Works, is a captivating reflection of his life and creative evolution. As I stood in front of his large-scale totem sculptures, I couldn’t help but think about how Johnson’s work is so deeply connected to his childhood in Detroit’s Westside, a historically rich Black community. Growing up just blocks from the iconic Blue Bird Inn, a hub for jazz legends like John Coltrane and Miles Davis, it’s clear how the rhythms and melodies of Detroit’s jazz scene shaped his creative vision. Johnson’s art is infused with the spirit of this music, often created with it playing in the background, as he seeks to channel its energy and emotion into his sculptures and paintings.

Courtesy of Lester Johnson
26 Wood, Fiber, and Fabric Totems. Courtesy of Lester Johnson

One piece that particularly struck me was the 26 Wood, Fiber, and Fabric Totems, which are a tribute to Rosa Parks and Judge Damon J. Keith. These works, rich in color and texture, tell a story of resilience and community. The fabric, woven with African-inspired patterns, speaks to the ways in which culture can bind people together, even in the face of adversity.

For Johnson, fabric is more than just material—it’s a symbol of the strength and unity that communities, particularly Black communities, have built over time despite systemic challenges. The totems were a poignant reminder of the importance of honoring the past while continuing to fight for justice.

As I walked through the gallery, I was also reminded of how much Johnson’s personal experiences shaped his artistic direction. His move into papermaking in the 1980s, influenced by Al Loving and Lynn Forgach, marked a turning point in his work.

I could sense the new textures and depth in pieces like Lynn’s Song and Nerfetiti, where paper became a medium for exploring his longstanding fascination with primal cultures and natural materials. The three-dimensionality of the work felt so immersive, like I could reach out and touch the cultural stories embedded in the fibers of the paper itself.

Courtesy Of Lester Johnson
Lynn’s Song and Nerfetiti. Courtesy of Lester Johnson

 

The most moving aspect of Johnson’s work is its ability to connect deeply with the viewer. Each piece tells a story—not just of the artist’s journey, but of the shared human experience. Whether it’s the universal struggle for justice or the celebration of the cultural legacies that shape our lives, Johnson’s art invites us to reflect on what unites us as individuals and as communities. My visit to the Stamelos Gallery was a reminder that art isn’t just about what we see on the surface; it’s about the stories, struggles, and triumphs that are woven into every brushstroke, every piece of fabric, and every sheet of paper. Johnson’s work is a testament to the power of creativity to honor the past and inspire the future.

 

REVIEW: Touch by Ericka Lopez

Madi Hammond Leave a comment

“Please do not touch the art.”

In most museums, art exhibits or galleries– at least that I have attended– that message is posted loud and clear. But at Touch, an art exhibition by Ericka Lopez housed in the Institute for the Humanities Gallery, touching the art is encouraged.

Lopez was born with limited vision and today is completely blind. As a result, her art-making process comes through the sense of touch and her memories of color. The exhibit houses three different types of pieces: mixed-media sculptures, ceramics and punch-rug textiles. 

I walked into the small square room with some trepidation. The exhibit is housed in the Institute for the Humanities Gallery, a square room on the first floor of Thayer Academic Building. I went during the middle of a weekday, so the gallery was understandably quiet. What drew my eye immediately were the circular mixed-media sculptures hanging on the wall. Each one looks different, and are colorful amalgamations of yarn, beads, buttons, fabric and even keys. 

Multi-media sculptures at Touch, by Ericka Lopez. Courtesy of Madison Hammond.

It felt unnatural to touch an art exhibit. I gently reached out, and realized how much the texture of the piece added to the experience. The plastic beads and bundles of string contrast each other visually, but they contrast even more in texture. These everyday objects take on a new life in these pieces.

I moved on to Lopez’s punch-rugs. Each of these pieces follow a cohesive color scheme, and with the eye look a bit plainer than the multi-media sculptures since they don’t include as many mediums as the sculptures. (Don’t worry, though; there are still plenty of beads and buttons here).

Punch-rug pieces from Touch, by Ericka Lopez. Courtesy of Madison Hammond.

Despite being completely blind, Lopez uses color masterfully. According to Amanda Krugliak, the exhibit curator, Lopez has figured out how to distinguish different colored materials based on touch and scent. This unique method is part of what makes Lopez’s pieces so creative and imaginative; the exhibit is unlike any other that I’ve seen. It pushes the boundaries of the future of art.

I decided to try closing my eyes before touching each of these pieces– and this is how I suggest enjoying most of the exhibit, but these pieces especially. Lopez places different textiles in intentional patterns to create a landscape that comes alive as you feel it. 

In the center of the room, Lopez’s ceramic pieces sit atop two tables. The deeper meaning behind these pieces escaped me at first. I stared at the beautifully glazed coil pots before scanning the QR code to read about the pieces, where I learned that the warped and lopsided shapes come from Lopez hugging or holding the pots before firing. The relationship between the body and the art, the artist and her pieces, is what makes these pieces meaningful. 

Ceramics at Touch, by Ericka Lopez. Courtesy of Madison Hammond.

Accessibility within the arts can seem tricky. How can one convey a two-dimensional painting to someone who can’t see the painting? But exhibits like this, which also include exhibit descriptions in Braille next to the pieces, show that visual art can interact with more senses than just sight. For someone like myself, who is not visually impaired, the addition of the physical texture and sensory experience of touching the pieces made the exhibit feel so much more personal. Maybe more art should be made to be touched.

Touch is open 9-5, Monday through Friday, until December 13.

REVIEW: girlmuseum

avameester Leave a comment

On September 21st, from 4:30 to 7 p.m., the Stamps Gallery on Division St. hosted a student-led exhibition called “girlmuseum”.  The exhibition is part of a class led by Andrew Thompson called “Gallery As Site for Social Change”, in which students collaborated to make multimedia projects for a temporary gallery space. Although many Stamps classes are collaboration-based and place emphasis on the power of interweaving imaginations and different perspectives, it’s not common to see these collaborations outside of the Stamps building. This work was also advertised a bit better than other Stamps exhibitions I’ve seen, as I received emails from faculty members and gathered flyers that showed off the exhibition’s nostalgic and girlish themes.

girlmuseum was located in the atrium of the Stamps Gallery; the small glass room created an atmosphere of openness and warmth, as the evening light bathed the pieces in color and enhanced details like dazzling embellishments and silky textures. The first thing I noticed was the coherent theme connecting all the pieces, all contained in a manageable space, while each piece still retained its own individuality and personal message. All the multimedia pieces acted as artifacts from girlhood, showcasing mementos from the pains, joys, and imaginative flairs of femininity. Bubbly pop music from the 2000s played as you walked through the gallery, creating a multisensory experience, and pieces were draped across the ceiling and tucked into corners to create a highly engaging space.

Two pieces that represented shrines of some sort flanked the entryway, and I found myself absorbed in the objects they held. Hannah Montana and One Direction CDs spoke to the nostalgia of my earliest childhood obsessions, and handmade wallets and beaded necklaces brought me back to a time of uninhibited creation when arts and crafts were ruled by bright colors and exploration instead of self-scrutiny. Some objects are seemingly more humorous or abstract in meaning than others, like a packet of silica gel hanging next to a patterned headband, and some carry dark or mature connotations, like objects referring to pregnancy and sexuality. I found myself connected to all of it, weaving together vague memories and nostalgic girlhood to create a full understanding of this somewhat universal experience for femme-presenting people.

Other pieces were more focused on modern social commentary, but their structure was still undeniably playful. A silk slip dress was bedazzled with cursive letters that read “I am made & remade continuously”, investigating the turbulence of having a feminine identity; multiple sculptural pieces were made from combinations of children’s figurines, fabrics, and found items, presenting miniature scenes that appear playfully absurd yet speak to age-old or brand-new ideas of gender. A banner draped across the ceiling— requiring that you crane your neck to even realize its presence— contrasts against the frills and fun of everything else, covered in all-too-common sayings that degrade, underestimate, or deny the worth and strength of girls.

girlmuseum was a testament to girlhood in all its glory and its suffering— from its excesses of glitter and playful creation to its paralyzing self-doubt. I was amazed by how interconnected the pieces were, all different enough to contribute a new dimension to the overall theme. This exhibition made me so much more excited for future Stamps exhibitions, and I especially hope to see more collaborative exhibitions in the near future. I recommend checking out the Stamps Gallery on Division St. whenever you are able— regardless of what they’re showing, it is always incredible to see the diverse talent of students, faculty, and professional artists.

REVIEW: GROW(ING): The 2022 Senior Exhibition

avameester Leave a comment

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: 26th Annual Exhibition of Art by Michigan Prisoners

Joann Leave a comment

This diverse exhibition is definitely worth checking out.

Themed art exhibition makes you form prior expectations before you visit the place. The exhibition of Art by Michigan Prisoners made me expect a heavy exhibition with a lot of social messages, life in prison, and emotions. This turned out to be a prejudice: the exhibition was full of diverse artworks using various mediums and exploring different themes and topics. This proved my prejudice to put their current location over who they were as an artist. As if the exhibition already expected people like me to have this prejudice, the exhibition emphasized and invited the viewer to see the people behind the artwork. The visitor could write on the guest book which will go straight to the artist. Also, a computer was placed so that the visitor could search the artist’s art statement. Every artwork is marked with a price that the artist had decided on and the visitor could purchase artwork on the spot.

Here are a few of the artwork that showed well the themes shared by some artworks. I chose them not because they were better than the others but because these are the ones that I spent more time viewing.

‘Living the Dream’, John Riley
‘Popsicle Stick Chess 2.0’, Ryan G
Left: ‘Identity’, Johnetta Sullivan                  Right: ”An Old Memory (from before worst decisions & mistake)”, L. Wheeler

 

 

 

 

 

 

Quite a few artworks showed the relationship between real or imagined spaces and the artist: it could be their dream houses like Joh Riley’s ‘Living the Dream’, or a scene from their memory. Some directly addressed their current state as being imprisoned: imagining freedom or reunion with their family. There were also portraits that seemed to be of the person that the artist know. Also, I was amazed to find out that wooden popsicle sticks could create amazing artwork-some of artwork had created highly detailed sculptures with popsicles sticks, like ‘Popsicle Stick Chess 2.0’ by Ryan G.

Another factor why I was aware of the artist behind the artwork more in this exhibition compared to other ones is because of the knowledge that the majority of the artists were not trained in art. This made me focus more on why the artist would have chosen this medium and topic as the focus of their art. If the artist is a professional artist, I think they will choose something that is closer to their professional identity as the topic of the art. However, if the artist is a non-occupational artist who produces limited drawings, then you start to link the meaning of that specific piece with the life of the artist, drawing from a broader area than just personal identity.

The exhibition continues until April 5th. If you can’t visit the Duderstadt center before that date, you can see the artwork online here.

REVIEW: Mission Improbable: Yotonix Spytacular

Himaja 1 Comment

As the lights dimmed in the Lydia Mendelssohn Theater on Saturday night, a huge cheer went up from the crowd. As a senior, I knew why — we were back for an annual tradition that we hadn’t seen since our freshman year.

Yotonix is the annual show featuring a collaboration between two very talented student orgs on campus: Revolution and Photonix. Revolution is our Chinese Yo-Yo team. Photonix is known for their glowsticking and visual arts performances.

The 2020 Yotonix show was tragically scheduled for March 14, the day after things officially turned topsy turvy, and they had to cancel due to the pandemic. 2021 Yotonix was a brilliantly crafted virtual show . But nothing can replace a live, in-person arts performance. This year marked the return of the in-person version of the show, and everyone in attendance was ECSTATIC. It was a night full of amazing art and there wasn’t a dull moment.

The show was, as it promised, both “Spy-tacular” and spectacular. The performers made their craft look so easy, but that was just the mark of their talent and months of practice.

The Chinese Yo-Yo, or Diabolo, is not what most people picture when they think of a yoyo. It evolved completely independently of the Western yoyo in China and grew popular as a toy in Europe. It requires a lot of skill to do most Diabolo tricks because you need to constantly maintain a fast enough spin so it stays stable…while it’s being whipped around and jumped over and caught all over the place.

Glowsticking originates from poi, a performance art first practiced by the Maori people of New Zealand that involves swinging weighted tethers called poi in geometric patterns. Glowsticking evolved from this as a performance done in the dark while either swinging glowsticks attached to strings, twirling glowing batons, or “freehanding” it by tossing/spinning the glowsticks directly in each hand. Learning this also requires a great deal of skill because you need to swing the glowsticks at high speeds for them to trace continuous patterns in the dark and it’s easy for them to get tangled or smack you in the face in the process.

It makes sense why, in the weeks leading up to the show, I often saw both orgs practicing in Mason Hall late at night! They were not taking on easy routines. My photos really don’t do them justice.

I really liked the choreo both groups demonstrated this year. Most Yoyo shows I’ve seen tend to stick to the same high-energy EDM music that gets a little overused after a while. Revolution’s creativity really shined through in the routines they put together to all sorts of musical genres, both fast and slow. Photonix also came through, experimenting with innovative glow suits with lights sewn into them and adding hula hoops and music-synced lights into their performance. *applause*

I also want to write a little ode to an oft-underrecognized part of any performance: the audience. I love the energy of the crowds during these student shows. We’re not there to see a professional, polished thing – we’re there to cheer on our pals. When someone drops their Yo-Yo or tangles up their glowstick and has to dart offstage, we only cheer and clap even louder in support. Because everyone in that theater was there to celebrate the passion and creativity and camaraderie that these students poured into this show – for once, not for any resume or class assignment or final project – but simply to HAVE FUN and express themselves.

I give Yotonix 2021 five out of five stars 🙂