A Peak Inside the Artists’ Studios
In December our little “Gang of 4” were treated to an incredible field trip to see Nancy’s studio at the Russell Industrial Center in Detroit and receive an outstanding one-on-one talk at the DIA on Diego Rivera and his Detroit Industry murals.
History of Russell Industrial Center
In 1915, the Center, a 2,200,000-square-foot (200,000 m2), seven building complex, was designed by Albert Kahn for John William Murray. Over the years it has been used for various manufacturing industries (automotive, military, metal stamping, household appliances, printing) and has passed through many owners. From 1970-1991 it was even owned by the notorious billionaire Leona Helmsley, hotelier and tax evader.
In 1998 the Center was closed as it suffered major damage from storms and the printing company could no longer sustain. The RIC fell into major disrepair and sat vacant until 2003 when it was purchased by a local development company for 1 million dollars. Since then it has become a community hub for local artists and small businesses.
Detroit artist Kobie Solomon‘s “Chimera” mural is painted on the side of the RIC. Measuresing 8,750 square feet, it is the largest mural in the state of Michigan. Kobie combined a bit of Detroit history along with the four major sports teams; the Detroit Lions (NFL), Detroit Pistons (NBA), Detroit Red Wings (NHL) and Detroit Tigers (MLB) in his creation.
We made our way downtown and meandered through the enormous complex until we located the Art Building. Nancy was already there to greet us and let us in. We rode up in the old style industrial elevator — the unsteady, creaking, wire-barred kind you see in scary movies — to her studio.
We were greeted by a friend of Nancy’s, fellow Detroit artist, Darcel Deneau. She let us check out her extra large studio space filled with incredible glass mosaics of the city. When putting this post together, I discovered more about her art and her incredibly heart-breaking story.
Next we headed over to Nancy’s studio. It’s a nice size space that offers a lot of natural light. She let us explore for a bit and showed us some of her wonderful paintings. Then we all sat down for a bit, had coffee and snacks, and talked about art and life. Nancy is a natural born storyteller and she’s accumulated so many great ones over the course of her life. We all said she should write a book– it’d be a bestseller!
Just down the long corridor was another friend of Nancy’s who had agreed to let us peak inside his studio. Alan Bennetts is a young Detroit artist and recent graduate of the Cranbrook Academy of Arts MFA Program. His artist statement reveals the intention for his current project that we were treated to view up close:
I seek to examine the varied positions consumer technologies occupy in both our collective and individual perception. In particular, the way these familiar, often intimate objects fundamentally change when they cease to function in the way in which they were intended. AB
I was blown away by Alan’s eye for detail and steady hand in creating these incredible works of art. How in the world could he achieve such accuracy in the tones of grey, black, silver, white… I’ll never know.
I fondly remembered that we had many of the stereo pieces in the 1980’s and a wave of memories came flooding back — dancing to Madonna and listening to U2s, “The Joshua Tree” in our basement and watching my step-dad spend countless hours making mixed-tapes. It was a great trip down memory lane.
After meeting the artists and touring their studios we headed over to the Detroit Institute of Arts for a phenomenal private lecture from a DIA docent who really knew his stuff! It was turning out to be an incredible day! Stay tuned for Day in Detroit — Part II.
The name of our class was Painting With Attitude. Each week we were treated to new “Nancy Notes”– a bit philosophy, a bit about art – a bit about our upcoming class assignment. Here are a few of my most favorite nuggets from the third week of class.
“Get The Paint On“…
“…You’re going to paint with strength and vigor…and not be afraid of making a mess of it…I hope we don’t have to get drunk like those dreadful painting parties….”
“The way paint gets onto the canvas…attack… advance…softly… intensely brave…capable of being reworked.. scraped off and put back..but mostly with intention, force (light or heavy), fearlessly, serenely, but NOT tentative and weak…Or so thin that it’s barely there…“
“We have to go back…It is your nervous system that you need to connect to, your touch, your aggression that so many of us don’t allow ourselves. It isn’t easy to make gentle work that is strong… all the forms depend on each other… There is a way to be in the moment, conscious, where every mark does something…“
“One of the tests of a good painting is ‘how long can you look at it?’, Hang your work on the wall…if you get tired of seeing it after a few weeks or notice you never look at it…Well?“
“What makes the art we love so possible to never get tired of… has to do with the state of the artists mind as the work was being made …the kind of connections that were happening between the eye, and the hand and the mind.“
“Why are mistakes so scary? Why does getting it ‘right’ mean only how it looks and not how it feels? What happens when it feels great but looks a mess? What do you have to do to make the paint alive and as necessary as the picture you are trying to copy? How do you the means and the subject to be equal to each other?“
“When it works is it Magic?”
“How can you stand it when it is strongly painted but ugly?”
Can you leave your comfort zone? How far? A little tiny bit… a jump off a cliff? NMM