Two New Exhibitions are opening this Friday February 13 at the Museum of Contemporary Art Detroit. Below are the exhibition descriptions, taken from MoCAD’s website. Anyone in the area should make it out to see these shows. I will write and post more after I get to see the show, so more to come…
The above images left to right top to bottom are as follows: Ceal Floyer, Ceal Floyer, Hans Schabus, Hans Schabus, Tris Vonna-Michell. (All images are from previous exhibitions)
BLACK IS, BLACK AIN’T
Curated by Hamza Walker and organized by the Renaissance Society of Chicago, Black Is, Black Ain’t is made possible by an Emily Hall Tremaine Exhibition Award.
February 13 – May 3, 2009
Black Is, Black Ain’t examines the topic of race from a fresh perspective and in the context of a post-Civil Rights era, where discussions of race have shifted from a focus on inclusion and equality as expressed in the dreams of Martin Luther King Jr., to a concerted but open-ended effort to make race socially and politically irrelevant.
The exhibition features works by over 20 African-American and non-African-American artists who thoughtfully and provocatively touch and reflect on subjects such as race, gender, sexuality, representation and language. History and class also feature prominently, offering a unique opportunity to revisit and rethink these important topics of race through the eyes of exceptional contemporary artists.
I REPEAT MYSELF WHEN UNDER STRESS
Curated by Trevor Smith, Curator of Contemporary Art, Peabody Essex Museum, Salem, Massachusetts, and Thomas Trummer, Project Manager for the Visual Arts at Siemens Arts Program, I Repeat Myself When Under Stress is presented in collaboration with the Siemens Arts Program.
February 13 – May 03, 2009
I Repeat Myself When Under Stress examines the ways that contemporary artists compulsively duplicate visual, narrative and formal elements in their work. Repetition and reproduction have been recurrent themes in artistic practice since 1945—as a means of embracing medium hybridity and as a stylistic device—revealing both the compulsions of consumption and the psychological constraints artists face in climates of economic and political uncertainty.
In the exhibition, Ceal Floyer, known for her extremely precise and subtle interventions in exhibition spaces, presents already existing works. Hans Schabus has created a site-specific installation on a simultaneously micro- and mega-scale, and Tris Vonna-Michell has expanded a work created in response to his encounters with the social history and revolutionary potential of the City of Detroit.
The artists, both individually and collectively, reflect and focus on repetition, a concept that acquires special significance in the context of Detroit—the city where the assembly line was invented. Once a great symbol of modernity and automatization, this industrial process relied on an inherent linearity and repetitiveness that over time has, without significant adaptations, become virtually obsolete, particularly in an increasingly interconnected world.