Was it one of the iconoclastic rock 'n' roll innovator's greatest works, or was it his most flawed statement this side of Lulu? Was the double album a carefully crafted work that expanded on experiments made by the founders of minimalism a decade earlier, or was it a hastily conceived barrage of senseless noise? Did he really expect this caterwauling double album of loud feedback soup to be released on RCA's classical label Red Seal, or did he simply turn it in as a way of flipping off The Man — fully intending for this mess to upset his label enough that they'd break his contract with them?
One does not, perhaps, consider ceramic objects to be immediately gendered, possess sexuality, or be particularly political. But pottery is one of the oldest practices among humans, and is so rooted in fundamental domestic and utilitarian concerns that there is literally no known human society that has not made vessels of some kind. This was something curator Anders Ruhwald, who has served as artist-in-residence and head of the Ceramics Department at Cranbrook Academy of Art since 2008, held very firmly in mind as he assembled contributors for This is the Living Vessel: person. This is what matters.
Him reveals Liz Cohen’s interest in identity, auto-determination, and the lengths to which one must go to find the truest expression of self.
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[“This Is the Living Vessel: Person. This Is What Matters. This Is Our Universe", curated by Cranbrook Academy of Art Head of Ceramics Anders Ruhwald] is part of a two-way exchange between Cranbrook and Pewabic—both Knight Arts grantees, and both with ceramic studios founded by women. Ruhwald has served as artist-in-residence and head of the ceramics department at Cranbrook since 2008, and has included recent Cranbrook graduate Matthew Bennett Laurents in the “Living Vessel” lineup. Simultaneously, the Cranbrook Art Museum presents “Simple Forms, Stunning Glazes: The Gerald W. McNeely Collection of Pewabic Pottery,” which showcases a recent donation of one of the largest private collections of Pewabic pottery. There are more than 100 works on display, including items made by Mary Chase Perry Stratton, Pewabic’s founder.
This hands-on investigation of books as art objects mixes the work of hometown heroes like Susan Goethel-Campbell, Megan Heeres, and Corrie Baldauf (whose Infinite Jest Project continues to proliferate, digitally and physically) with some well-known artists’ books, including examples by Ed Ruscha and Kara Walker.
Cranbrook Art Museum Director Andrew Blauvelt is interviewed for the "Meet the People Behind the Ideas" feature in SLICE Ann Arbor.
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Part photographer and part performance artist, Liz Cohen uses both mind and body to focus on issues of transformation and belonging while also heading up the photography program at the Cranbrook Academy of Art in Bloomfield Hills.
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Last year, the Cranbrook Art Museum welcomed home a member of its family for a widely acclaimed photography and performance art event.“Nick Cave: Here Hear” connected Cranbrook to the city of Detroit like never before, and now there’s no going back. The museum is in the midst of yet another exhibition, called “The Cranbrook Salon,” which explores the history of salon-style art displays, and to complement that, they’ve arranged a series of salon events with a decidedly Detroit — and even feminist — flare.
Knight Blog, the blog of the John S. and James L. Knight Foundation, features writer Rosie Sharp's visit to "The Cranbrook Salon." Sharp visited the Museum to examine the exhibition and our newly-formed "Detroit Bluestockings Crew," a collective of local women who will host events around Detroit.
Detroit Performs says, "You’ll enjoy the best seat in the house as Cranbrook Art Museum presents the audio installation of Metal Machine Trio: The Creation of the Universe, a live ambisonic 3-D sound installation inspired by Lou Reed’s controversial 1975 double album Metal Machine Music."
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