In 1965, four artists bought seven acres in southeastern Colorado, intending to make live-in works of art. Their communal project came to be known as Drop City, where residents lived in zonohedron domes of their own creation, sometimes constructed of automobile roofs and other scavenged materials. One dome, made of a fluorescent-painted lattice filled in […]
Can art help invigorate Detroit? Nick Cave, who considers himself a messenger first and artist second, thinks so.Cave, the performance artist best known for his vibrant soundsuits that have been cited for inspiring the collections of designers like Kenzo and reside in the homes of celebrity art collectors like Jay Z and Beyoncé, says the timing was right for “Here Hear,” his current and longest-running solo exhibit at Cranbrook Art Museum in Detroit, which closes Oct. 11.
Bloomfield Hills, Mich., Aug. 26, 2015 – Christopher Scoates, the Maxine and Stuart Frankel Director of Cranbrook Academy of Art and Art Museum, announced a series of leadership changes today at both the Cranbrook Academy of Art and Art Museum.
As part of our #LoveMyCity campaign, we’ve been asking creators and influencers all across America to tell us what makes their towns so special, by using the hashtag #LoveMyCity. Pride, we feel, is something that drives culture, style, and, for us, it’s the lifeblood of a maker and manufacturer. And while Nick Cave isn’t from southeast Michigan — Detroit, the artist says, “gave him his soul” as a performer.It’s a hot day in August; Nick Cave and his creative partner, Bob Faust, have met us at the entrance to the Cranbrook Art Museum in Bloomfield Hills, MI, to tour Cave’s 7,000-square-foot solo exhibition and performance program, Here Hear. It’s hours before the final performance of Here Hear’s live dance series, Dance Lab, the museum installation is coming to a close October 11th, and Cave is feeling nostalgic.“We feel we’re reintroducing Detroit to Detroit,” says Cave. “Because at these events we’re shocked at the overwhelming support that has been coming out.”
Just in time to bid farewell to summer, Cranbrook Art Museum is getting ready to celebrate the close of its Michigan-made exhibit, “Designing Summer: Objects of Escape.”According to Shelley Selim, assistant curator of the Jeanne and Ralph Graham Collections at Cranbrook, the show highlights the tradition of outdoor fun in Michigan during the summer.“It all sort of materialized when we received a gift of 20 picnic posters designed by Steve Fryholm, who graduated from the (Cranbrook Academy of Art) and worked for Herman Miller,” she said. “(The posters) advertise the annual company picnic; they’re beautiful and incredibly graphic images of summer picnic food like sweet corn, grilled chicken, fruit salad and lemonade. They’re all silk-screened with flat layers of color. They’re just spectacular, and we thought we needed an exhibition for these.”
Whether along one of the Great Lakes, any of the numerous inland lakes, or the Detroit Riverfront, it is an undeniable fact that Michiganders spend their summer by the water. Going Up North is a standard phrase, and an even more common occurrence, whether for a long weekend or a week’s vacation. These locations epitomize the summer goal of escape, of leaving one’s cares (and responsibilities) behind. Designing Summer: Objects of Escape at the Cranbrook Art Museum through August 30th traces the evolution of the modern concept of summer vacations in Michigan, and how many of the objects that contribute to this notion of leisure time have their roots in Michigan.
Designed by the highly influential architect Eliel Saarinen in the 1920s, this Art Deco masterpiece sits on the campus of the Cranbrook Art Museum. From 1930 through 1950, the structure served as the home and studio of Saarinen, Cranbrook’s first resident architect and the Cranbrook Academy of Art’s inaugural president and head of the Architecture […]
I stood at the entrance of the Dequindre Cut Lafayette Park overpass, a few steps away from the Mies van der Rohe Historic District where I reside. I looked over the small bridge into the Dequindre valley shortly after checking my iPhone for the time. It was 4:01 p.m. on a hot July Sunday in Detroit. A Nick Cave Soundsuit performance was set to take place in Detroit’s Dequindre Cut, a relatively new pathway where the city’s residents can run and jog at leisure.Two figures in Cave’s handmade Soundsuits galloped down one of the entry ramps onto the Dequindre Cut; one in black and one in white, dancing angelically. The materials on the Soundsuit garments were draped effortlessly — like long, and thick strands of hair — as the dancers gracefully gallop up and down in the humid summer air. A live band playing “toy pop” lead by composer Frank Pahl preceded the dancers.
DETROIT — In 1989, while a postgraduate at Cranbrook Academy of Art, Nick Cave developed the first of his Soundsuits, for which he has become world-famous — sculptural bodysuits constructed from a range of found objects, which transform the wearer into a figure both highly visible and completely obscured. The Soundsuit was a means for Cave to process the intense vulnerability he felt as a black man during the Rodney King beating, which took place the same year he graduated with his MFA from Cranbrook, which boasts a lavish and sequestered campus in the affluent and mostly white Detroit suburb of Bloomfield Hills.
DETROIT GAVE ME THE SOUL. It was a critical part of my education. When I was a graduate student at Cranbrook Academy, I learned so much, but it was in the house music dance community here in 1987–88 where I found myself. During undergrad, I had taken summer classes with Alvin Ailey in New York and I learned to dance. Coming from that training, I then applied it to my work. I’ve always looked at dance as an artwork where you are drawing in 4-D. By the time I moved to Detroit, I adopted a more improvisational approach to movement, one that was structured but responsive to constant transformation. Lately, it has become less about dance and more about movement in my work.
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