The Truth Booth — a giant, inflatable, portable enclosure in the shape of a thought bubble — will make its way across Detroit and Flint over the next two weeks.The cartoonish pop-up bubble is a participatory public art installation that functions as a video recording studio. Visitors are invited inside an intimate white space to give semi-anonymous testimonial in two minutes or less. The only directions are to complete the simple thought, “The truth is...”
If you lack the tolerance for Hollywood blockbusters, here’s a tip to beat the heat in Detroit this summer: Take in “CC5 Hendrixwar/Cosmococa Programa-in-Progress,” the full-gallery installation of a work by Hélio Oiticica and Neville D’Almeida. Tucked away in the furthest reaches of “Hippie Modernism: The Struggle for Utopia” at Cranbrook Art Museum, the installation comes complete with gratifying tunes, soothing visual projections and hammocks.
For nearly five decades, John Glick has labored in his studio in Farmington Hills while developing a reputation as a “People’s Potter.”Now the Cranbrook Art Museum has organized a major retrospective of his work, “John Glick: A Legacy in Clay,” on display this summer at the Cranbrook Museum of Art in Bloomfield Hills.
For Andrew Blauvelt, the June 18 opening of “Hippie Modernism: The Struggle for Utopia” at the Cranbrook Art Museum represents both a scholarly interest and a chance to bring to life a piece of Cranbrook’s own history.
BLOOMFIELD HILLS, MICH.- The acclaimed exhibition Hippie Modernism: The Struggle for Utopia travels to Cranbrook Art Museum this June, bringing an examination of the intersections of art, architecture and design of the counterculture of the 1960s and early 1970s.The exhibition comes to Cranbrook from the Walker Art Center, where it enjoyed a successful run from October 24, 2015 through February 28, 2016. It was curated by Andrew Blauvelt, former Senior Curator of Research, Design and Publishing at the Walker who left that position to become Director of Cranbrook Art Museum in August of 2015. Cranbrook is the second of only three stops on the show’s national tour.
Cranbrook Art Museum announces the opening of our new exhibition, John Glick: A Legacy in Clay, which highlights the illustrious career of the ceramist and 1962 graduate of Cranbrook Academy of Art. The exhibition opened on June 18 and run through March 12, 2017.
Tagged: artdaily.org, John Glick: A legacy in Clay
Read More"Hippie Modernism: The Struggle for Utopia" is an exhibit opening Saturday at Cranbrook Art Museum. It looks into the unexpected ways that seemingly disparate movements of the '60s and '70s influenced one another in art, architecture and design. The museum's director, Adam Blauvelt, curated the exhibit and talks about what to expect.
Tagged: Andrew Blauvelt, Hippie Modernism: The Struggle for Utopia
Read MoreYou expect the annual Graduate Degree Exhibition at the Cranbrook Academy of Art to be wild, and this year’s projects by the newly minted MFA’s do not disappoint.The show, which will be up at the Cranbrook Art Museum through May 15, spotlights the work of 83 students in 10 different artistic disciplines, from metalsmithing to architecture to 3-D, and fills almost every inch of the Eliel Saarinen-designed museum.
Tagged: Emmy Bright, Johanna Herr, The Detroit News
Read MoreEvery April, Cranbrook Academy of Art puts on an exhibit highlighting graduate students’ work throughout their college career.With the 83-student graduating class, this year’s works are displayed both inside and outside for one of the biggest exhibits yet.“It’s a very great experience because you get to see the innovation that is the forefront of art, architecture and design,” says Laura Mott, exhibition curator. “Cranbrook has an important legacy in that, and this is the next generation.”
Tagged: Katherine Gaydos, Kelsey Elder
Read MoreWas 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?
Tagged: Chris Scoates, Lou Reed, Metal Machine Music
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