9338 Campau is the only independent gallery to have a show listed in the Hyperallergic Top 10+3 Exhibitions across the US for 2015 .... Read More
In The Gallery
Curator Laura Mott talks about beginning the two year research project that will culminate in the exhibition "Landlord Colors" at the the Cranbrook Art Museum
3pm, Saturday December 10, 2016
Please join us for this very special event in which Cranbrook Art Museum Curator Laura Mott will discuss starting the two year research project that will eventually culminate in the exhibition "Landlord Colors." This is a rare opportunity to see something of the process of creating a major contemporary research-driven exhibition. The exhibition's subject matter, which includes "a deep dive into Detroit’s artistic practice over the last five decades" is also likely to be of interest to many. Also participating in the discussion will be the project reseach assistant Taylor Aldridge, who will shortly be taking a postion as Assistant Curator of Contemporary Art at the Detroit Institute of Arts.
The exhibition, Landlord Colors, looks at the relationship between aesthetics and economy in the material cultures mined by artists in the aftermath of societal and economic collapse. The research focuses on Detroit artwork from the 1960s to the present alongside investigations into two art historical movements—Italy’s Arte Povera and Korea’s Dansaekhwa—and artwork being generated in two contemporaneous economies—the embargo in Cuba and the crisis in Greece. Production of art in each location has been influenced by various artistic restrictions and freedoms, including: material excess, limited access to materials, material as symbolic tool, and the art object as a form of resistance. Landlord Colors aims to discover textured and nuanced answers to untested ideas, relationships, and questions.
Mott was named a 2016 Warhol Curatorial Fellow that supports the project’s research and travel to Italy, Korea, Cuba, Greece, and various collections in the United States. She will speak about the beginning of this two-year research culminating in the exhibition Landlord Colors, which includes a deep dive into Detroit’s artistic practice over the last five decades. She will be joined in conversation by the project’s research assistant Taylor Aldridge, the newly-announced Assistant Curator of Contemporary Art at the Detroit Institute of Arts.
Laura Mott is the Curator of Contemporary Art and Design at Cranbrook Art Museum, a position she arrived at in November 2013 following an active career as a curator and lecturer in both the United States and Europe. A selection of her most recent exhibitions include The Truth Is I Hear You (2016), Nick Cave: Here Hear (2015), Read Image, See Text (2015), Theater of the Mind (2014), amongst others. Previously, she has held various curatorial positions at the University of Gothenburg in Sweden, Gothenburg Konsthall, IASPIS in Stockholm, Mission 17 in San Francisco, and The Whitney Museum of American Art in New York. She has an MA in Curatorial Studies from the Center for Curatorial Studies, Bard College, New York, and the BFA/BA in Art History and Studio Art from The University of Texas, Austin.
Image of Laura Mott by Nicola Kuperus
Fredy Perlman and the Detroit Printing Co-op
An exhibition and gallery based discussion on the politics and the joy of printing in Detroit
designed, curated and researched by Danielle Aubert and Maia Asshaq
October 1 – November 12, 2016
Public Reception: 7-10pm, Friday October 7
Open Mic Discussion about the Detroit Printing Co-op: 10-11:30am, Sunday Oct. 9
Curator's talk by Danielle Aubert: 7-8:30pm, Tuesday Oct 25
In “Fredy Perlman and the Detroit Printing Co-op,” cultural researchers Maia Asshaq and Danielle Aubert plan to collect publications printed at the Detroit Printing Co-op during its existence from 1970 to 1980. Significant titles published during this period include the first English translation of Guy Debord’s Society of the Spectacle, many issues of Radical America, and The Political Thought of James Forman (Black Star Press).
More specifically, the exhibition will examine the graphical work of Fredy Perlman. Perlman is best known as a writer and thinker, but had an interest in printing and bookmaking which led him to experiment with collage and typography of surprising originality and complexity.
Based at the gallery, but engaging in discussion with the broader community, Asshaq and Aubert plan to use the period of the show to both research specific topics from the era, and investigate more general questions on the interrelationships between vernacular graphic design, available printing facilities, and the culture of the time.Biographies
Maia Asshaq is an Iraqi-born writer, book-maker and bookshop owner based in Detroit. Her work has been exhibited and heard in Detroit, Chicago, New York, France, Croatia, Germany and the Czech Republic. She is heavily influenced by different forms of communication and mis-communication through paper and translations. Most recently this interest inspired her to translate and mis-translate the poetry of her Assyrian-American uncle, Yousif Shikwana. In 2012, Asshaq co-founded DittoDitto, a small bookshop and publishing house in Detroit that focuses on literary and visual arts. In 2013, she co-founded an experimental poetry and performance series called Underword.
Danielle Aubert is an Assistant Professor of graphic design at Wayne State University in Detroit. She was the recipient of a two-year fellowship at the Lewis Center for the Arts at Princeton University from 2013-15. She practices graphic design with Lana Cavar and Natasha Chandani as part of the group Clanada. She is the author of 16 Months Worth of Drawing Exercises in Microsoft Excel (Various Projects: 2006) and Marking the Dispossessed (Passenger Books: 2015), and co-author, with Maia Asshaq, of Abandoned Letterhead (2011) and, with Cavar and Chandani, of Thanks for the View, Mr. Mies: Lafayette Park, Detroit (Metropolis Books: 2012).
Regular hours Saturday 1-5pm, or by appointment, please contact email@example.com
Image at top of page "Barriers" by Oren Goldenberg