David Klein Gallery

David Klein Gallery is pleased to present new work by artist Lauren Semivan. This virtual exhibition, titled Objective Mysteries, will run December 8th through 19th. The artist states "This ongoing body of work has evolved through intense contemplative study and manipulation of an ephemeral sculptural environment. References to the physical world suggest rather than disclose, skewed by our own perceptions and associations. Color is an emotional descriptor, creating depth within a two-dimensional space. The marks on the surface suggest topographies; roads, rivers, passageways, or impressions from suggested movement; scratches on glass, stains, traces of events. Compositions evolve, are photographed, and then devolve into the next image. Materials and objects photographed are discarded, secondary to the photograph itself. The re-telling of the moment becomes monumental to the moment itself."

David Klein Gallery is pleased to present a virtual exhibition of watercolor paintings by Kim McCarty. "This series came about when the owner of Mister Green, a lifestyle marijuana concept store in Los Angeles, asked me to decorate its walls with paintings of cannabis. To familiarize myself visually with the plants I grew some pot at home. As the plants grew, I was able to record their changing attributes from male to female or vice versa. The female always being the most coveted for its transformative and healing properties. It was fun to play with the genetic differences of both male and female plants and title the paintings accordingly." -Kim McCarty Kim McCarty's ephemeral watercolors hover between presence and absence, innocence and wisdom, and past, present, and future. Like the medium itself her images capture fleeting moments in time, evoking the impermanence of nature and humanity. With subjects ranging from the human figure to plants, flowers, and domestic and wild animals, McCarty's watercolor paintings embrace the transparency of the medium. McCarty's recent solo exhibitions include: Project, Santa Monica Museum of Art, Santa Monica, CA; David Klein Gallery, Detroit, MI and Morgan Lehman Gallery, New York. Group exhibitions include: Water + Colour, Griffin Gallery, London, UK; Contemporary Passions, Art from the Serapon and Belk Collections, Museo de Arte de Ponce, Puerto Rico; Eve, Subliminal Projects, Los Angeles, CA; Now, at the Dominique Fiat Galerie, Paris, France; Liquid Los Angeles, Contemporary Watercolor Painting, Pasadena Museum of Art, Pasadena, CA; Contemporary Erotic Drawing, The Aldrich Museum of Art, Ridgefield, CT, and Diverse Works, Houston, TX. Her work is in multiple private and public collections including The Museum of Modern Art (MOMA) New York; UCLA Hammer Museum, Los Angeles, CA; Honolulu Academy of Art, Honolulu, Hawaii and The Microsoft Collection.

For more than a decade the source material for my work has been the homes and neighborhoods in which I have lived from Wisconsin to Brooklyn to New Jersey. I have focused on domestic spaces – medicine cabinets, refrigerators, and closets – and narrowed in on individual objects. At times the paintings are interiors, viewed through a mirror or window, and at others it’s the exterior façade of my home or street views of the neighborhood. This subject matter allows me to explore a series of ideas. One is the notion of public and private space. My most recent pieces, for example, involve the use of a drone camera. The use of the drone camera itself is socially loaded, as their increasing prominence has led them to be viewed as tools of aggression used for spying and warfare. Drones have also become a symbol of our collective declining privacy. My images illustrate this by laying bare both the physical and socioeconomic elements of the neighborhood via the meticulous capture of homes, cars, swimming pools, and outdoor furniture. Conversely, drones also represent an isolated, harmless, everyday leisure activity for both adults and children. In that sense, the details included in the drawings can also be viewed from a perspective of being commonplace and unintrusive. The houses and cars in this neighborhood could be most anywhere, and as a result do little to tell us about the families, who remain out-of- sight. Another concept of interest to me is the desire to control our surrounding environment. My work investigates our desire to not only capture and record the minutiae of life, but to idealize and stylize each and every detail. Photography has long-enabled us to hold time still, but the ubiquity of camera phones and publishing platforms such as social media lead us more and more to obsessively stage our lives for both ourselves and others. Just as we carefully attempt to manipulate others’ perception of us, so too do I wish to curate the viewer’s perception of my subject matter. There is a searching that takes place traveling above and around these spaces, sometimes drawn closer to observe plants, a swimming pool, or patio chairs, and other times pulling back to focus more on the pattern of rooftops or gridwork of yards. Details of the familiar or mundane aspects of life are given equal importance, from cars that are left abandoned on the street to individual leaves and roof shingles. Ultimately the viewer is presented with an abundance of information that is carefully organized and staged. -Jessica Rohrer

David Klein Gallery is pleased to present an exhibition of new work by Boston based artist Lavaughan Jenkins. He is known for his three dimensional sculptural “paintings” that merge figuration with abstraction. Starting with a wire and foam armature, Jenkins builds up his figures with large dollops of richly colored oil paint, fleshing out the vibrant characters. The women are often portrayed in what appears to be lushly colored ball gowns while the men are casually dressed in a suggestion of contemporary street wear. For this exhibition, the artist has given this particular group of figures titles of songs from his childhood such as I Say a Little Prayer by Aretha Franklin, Ghetto Child by Curtis Mayfield and Who Am I by The O’Jay’s. Jenkins states, “I picked these songs specifically for their story telling. Each one hits hard and tells you exactly how it is and who we are as Black people. These figures, both kneeling and standing, tell our truths, standing for all who can no longer do so.” Lavaughan Jenkins holds a BFA from the Massachusetts College of Art and Design. He has participated in multiple exhibitions in the U.S. and in Beijing China. Jenkins was recently awarded the James and Audrey Foster Prize, presented by the Institute of Contemporary Art, Boston. Previous awards include the Blanche E. Colman Award and the Rob Moore Grant in Painting. Lavaughan Jenkins lives and works in Boston, MA Caption: Lavaughan Jenkins in his studio

David Klein Gallery is pleased to present a new installation by Lucia Hierro. The Bronx-based artist is known for her room-size installations of digital two-dimensional domestic environments that are often accompanied by supersized three-dimensional renditions of familiar grocery items. Hierro acknowledges the iconic mainstays of the Latin American home and table with images of plantains, Mazola corn oil, potted plants, devotional candles, and Fabuloso All Purpose Cleaner. These everyday objects are visual clues to the Dominican American culture the artist seeks to share with her audience. Hierro points out that “the TV in the ‘living Room’ is on a default screensaver of a tropical island reminiscent of the Dominican Republic”. The food items, furniture and decorations “allude to having a little piece of home one way or another. They are a nagging reminder that if not for circumstances American Imperialism brings to the island, we wouldn't need to be here busting our butts in bad weather”. The installation title, Y Quien Quiere ta' Comiendo Mierda e' Hielo, Cuando Puede ta' Bailando Algo Mejor? is named after lyrics in Dominican singer Rita Indiana’s song La Hora de Volver. Roughly translated it means "And who'd want to be eating shit ice when you could be dancing something better?" Lucia Hierro received a BFA from SUNY Purchase and an MFA from Yale School of Art. Her work has been exhibited in museums and galleries in the U.S. and abroad, including the Perez Art Museum, Miami, FL; the Bronx Museum of Arts, Bronx, NY and The Museum of the African Diaspora, San Francisco, CA. Her first solo museum exhibition, Marginal Costs, will open at the Aldrich Contemporary Art Museum, Ridgefield, CT, in June 2021. Residencies include Yaddo, Saratoga Springs, NY; Redbull Arts, Detroit, MI and Casa Quien, Santa Domingo. Lucia Hierro lives and works in New York City. Caption:LUCIA HIERRO IN HER STUDIO, PHOTO BY KEVIN CLAIBORNE

David Klein Gallery, 163 Townsend St, Birmingham, Michigan is pleased to present Emmy Bright Alone Together (Views from the Bottom of the Pool). This is Bright’s third solo exhibition with the gallery and will feature a new body of work created during the COVID – 19 Pandemic. In a recent conversation, Emmy Bright explored the origins of this new body of work and explained her elaborate working methods: One of my favorite things to do this past summer was to sit at the bottom of the pool. I would sit on the bottom holding the lowest rung of the ladder. And I’d keep myself there underwater until I was out of breath. I love looking up through the water to a rippled surface - even though you can’t see much from there. It is a very quiet and still place - with little sound too, but a lot can be felt - the temperature and currents of water. And it is very blue, or blue green or even dark depending on the time of day. I’m turning more and more to color for a certain kind of feeling. These drawings use line, movement, color, and removal to evoke intense emotion visually, rather than through text as I’ve done in the past. I use an elaborate inlay process where two sheets are colored, then repeatedly deconstructed and repaired with tape. What was cut from one panel appears in the other panel and vice versa. And the tape picks up tinted fingerprints, revealing my body and the work of repair. Some pieces were colored with special markers and brushes, but more and more I’ve been using my hands to move the ink across the paper. These works pay homage to places of beauty, visual sensuality, rest, and spaces for feeling and sensation. Amidst the fury of the now, I’m trying to make spaces to think, feel and breathe. Emmy Bright works in drawing, writing, print and performance. In all of these mediums, she explores the problems of empathy and the problems of boundaries. She often works with opposing binaries, like aloneness and togetherness, parts and wholes, breakage and repair, distance and connection. By working with opposites, she draws attention to how they connect, intermingle and depend on one another. In this current body of work, these opposites manifest as two sides of each panel (left and right or top and bottom.) The work contains strong variegated strokes of monochromatic color that are repeatedly cut into then reassembled and then taped, and these acts of removal and repair feel especially symbolic in the difficulty of the now. Bright has produced projects and exhibited extensively throughout the United States and Internationally. She has been awarded fellowships and residencies at Ox-Bow School of Art, Vermont Studio Center, New Urban Arts, University of Hawaii, and Haystack School of Crafts. She is currently an Artist in Residence and Head of Print Media at Cranbrook Academy of Art (Bloomfield Hills, MI). She lives and works in Southwest Detroit. Image caption: Emmy Bright, Between Us (This Side of the Blue) - 2020, Marker and tape on Yupo, 43 x 52 inches

2020 was a year of uncertainty, but one thing we know that remained constant was artists making art. Maybe there was a pause at the beginning, but ultimately artists found the inspiration to keep moving forward. Whether they continued to explore an ongoing body of work or create something entirely new, their practice endured. We invite you see the results of time spent at home, in the studio, in the city, in the country, on a river. Presenting new work by Ebitenyefa Baralaye, Susan Goethel Campbell, Matthew Hawtin, Scott Hocking, Cooper Holoweski, Kim McCarty, Mario Moore, Marianna Olague, Jason Patterson, Kelly Reemtsen, Robert Schefman, Lauren Semivan, Mark Sengbusch, Rosalind Tallmadge and Ricky Weaver.

David Klein Gallery, 1520 Washington Boulevard, Detroit, Michigan is pleased to announce the opening of Gatekeepers, an exhibition of new paintings by Marianna Olague. A reception for the artist will take place on Saturday, November 7, 1–8 PM, by reservation via Tock. Olague’s work is about living in the borderland desert of El Paso, Texas, a predominately Hispanic city on the Mexican border. The Frontera is almost 2000 miles long, running from southern Texas all the way to southern California. It’s physical and psychological existence has a deep impact on the people who live in the cities and rural towns along the border. In El Paso, the border fence juts up against neighborhoods and playgrounds, it’s looming presence a two-story wire-mesh fence sitting atop a concrete slab. The brutalist structure of the fence blocks the former views of the Rio Grande and its surrounding greenery. Residents say they are used to it now. Throughout art history artists have called upon family members, friends and neighbors to sit for them. Olague continues that tradition, inviting her family to be the subjects of her narrative paintings. She is adept at capturing their likenesses but also their personalities and inner presence. In the painting, Mom Delivers Grubhub, the expression on her mother’s face and her bearing as she climbs the steps tells a story at one glance. The young man’s posture and his t-shirt, spiked necklace and tattoos in Todo Se Vuelve Alma, suggests what might be on his mind and in his heart. "I use portraiture to explore what it means to be Mexican American in the 21st century, providing a glimpse into the private lives of my own family. Like most people of color, my family members were born into poverty and still cling to the idea of the American dream in hopes of rising above their circumstances. This series of portraits captures those moments of minority struggle and labor but also moments of idleness, daydreaming and disillusionment that accompany the Mexican American experience." -Marianna Olague, October 2020 Olague’s use of pure brilliant color adds a dazzling vitality to the sun-bleached landscape of southern Texas. Shedding the expected palette, blue skies become orange, concrete walls look like sunsets and foliage turns cobalt blue. All becomes a celebration of the native culture and community of the borderland city of El Paso. Marianna thinks of her beloved subjects as Gatekeepers: “As children of migrant parents and grandparents, Mexican Americans have little to call their own in a country that finds new ways to deny their existence, but what is most immediate, most undeniably ours is the culture we grew up in. Being Mexican American means family, culture and place become sources of immeasurable pride and security. Within each painting, my loved ones act as gatekeepers of their own private worlds, guarding domestic and public spaces perceived as threats to American white consciousness.” Marianna Olague lives and works in El Paso, Texas. She holds an MFA in painting from Cranbrook Academy of Art, Bloomfield Hills, MI and a BFA from the University of El Paso, El Paso TX. In 2019 Olague was named an Artist in Residence at the Kunstlerhaus Bethanien, Berlin, Germany and awarded an Artist in Residence at the Chinati Foundation, Marfa, Texas in 2020. Olague’s work is in multiple private and public collections including the Rubin center for Visual Arts in El Paso, TX and Cranbrook Art Museum in Bloomfield Hills, MI. She will have her first solo exhibition at David Klein Gallery, Detroit, in November 2020.

Familiar is a show that explores interconnected personal and diasporic histories. The title of this exhibition uses the word Familiar to examine our understandings and perceptions of what we believe we know. What is our understanding of American history in the context of Black lives? How can we expand our concepts of the personal, domestic and historical? Each artist allows the viewer an inside look beyond negative tropes of how blackness is portrayed historically and through contemporary lenses. Familiar includes photography, paintings and drawings that explore an intersection where the intimacy of Black culture meets. Some of the work quarries the archives of history to highlight specific individuals and stories, while others focus on spaces that are familiar in our everyday lives—a commonality outside viewers may be estranged to. This show gives each artist the room to explore their own ideas while also forming a shared overlapping and understanding of relationships.

David Klein Gallery is pleased to present Al Held: Watercolors. This exhibition offers the opportunity to view rare watercolor paintings by Held, which were created at his studio in Camerata di Todi, Italy in the early 1990s.

Viewing art history through a female lens, Elise Ansel translates Old Master paintings into vibrant contemporary abstractions. Improvising on the historical artworks, Ansel implements the color and composition of the masterpieces adding gestural expression to her interpretations. Her brushstrokes make a visible map of her movements as she vigorously applies the paint to canvas.

Kelly Reemtsen is best known for her iconic depictions of the modern day woman. Strikingly feminine at first glance, in designer dresses and runway- worthy accessories, Reemtsen’s women are not simply fashionistas or arm candy. Rather, these women, dressed to the nines, undertake tasks that are often traditionally masculine, requiring the use of power tools such as chainsaws, wrenches, and bolt cutters. Their stance ranges from domestic to menacing and yet, as a body of work, address the question: What is the role of the contemporary woman? Reemtsen answers that question with a resounding “Anything!” The presentation of her subjects is anonymous by choice, they could be Any Woman, both feminine and powerful. This online exhibition features paintings, drawings and prints produced in her Los Angeles and London studios.

Based on an 1890’s photograph of a massive pile of bison-bones at the Michigan Carbon Works plant in Detroit, and the “bone black” pigment created from their process of burning animal bones, practiced for approximately 150 years, the Bone Black installation was created over the course of 5 weeks in the Spring of 2019. Commissioned by Cranbrook Art Museum, for the exhibition “Landlord Colors: On Art, Economy, & Materiality,” curated by Laura Mott, the work was designed site-specifically within the vacant Assembly Bay building of the former Northern Crane industrial sites, along an old railroad street called Guoin, one block from the Detroit River, in the historic Warehouse District. Focusing on the metaphorical “bones” of Detroit, approximately 35 abandoned boats – Shipwrecks - and related debris, illegally dumped and neglected throughout the City, were collected via trailer-towing pick- ups and various winches, and hauled to the Northern Crane site as materials for the work. 33 of these Shipwrecks were suspended and stacked within the Assembly Bay, creating a sort of “ghost fleet,” or funerary procession through time, flowing westward just as the Detroit River does. 22 of the boats were washed with the Bone Black pigment, allowing each Shipwreck’s colors, graffiti, and history to bleed through. Multiple boats had trees and plants growing within them, sprouting from years of sitting in the same forlorn spots – all of which were preserved during install, with the tree-boats situated under the collapsed sections of roof, so they could soak up all the rain of one of Michigan’s wettest years. Playing with ideas of archeology, anthropology, ceremony, and mysticism, the installation was designed to transform the cavernous factory setting into a future-archaic scene from some alternate history, and perhaps convey a view from underwater, looking at the entire work from the stillness of a seafloor. Photographed and documented over time, the suspended Ships were lowered in stages, hanging nose- down in the final days, followed by being stacked into one central burial mound – a Shipwreck version of the Carbon Works bison-bone mountain. Exhibited from June through October of 2019, the entire installation was dismantled and destroyed by Autumn, with all 33 fiberglass wrecks being smashed into bits and crushed into dumpsters, as they have no scrap-value and cannot be recycled, and why they are so commonly dumped in Detroit. Along with various boat artifacts and hardware saved before destruction, the work lives on as a dual photographic series: Bone Black (2019), which documents the entire installation, and the 20-year series Shipwrecks (2000-2020), which served as inspiration for the concept of this work.

This series is about taking things apart - people, ideas, relationships, feelings and then recombining them. I think a lot about how we don’t move through this world alone, but take other people and things insides of us. We’re these weird conglomerations. What happens to one, happens to the other, only differently. We take each other in. We are made up of all of our own experiences, and we absorb the things which happen to others. We are both incredibly alone and impossibly linked. In this series, I’m working with strong variegated fields of color. Many pieces are monochromatic and the figure and field merge into one. It is not easy to see the image - instead they are meant to be felt first. Fields split in half - offering presence and absence. What is cut from one panel, appears in the other panel, two parts separated from each other. The cut pieces involve a laborious iterative process of removal and repair. To me, this is symbolic. And the linework leftover from the process offers both record and image of the work. I’m always preoccupied with parts and wholes, aloneness and togetherness, absence and presence, with empathy and boundaries and also the ways that these opposites are always coming into contact and intermingling. With what is happening right now, the palpability of both distance and connection feels especially resonant. -Emmy Bright

Alternative Testimony features the work of four artists who use traditional and historical photographic processes in alternative ways. Experimenting with early techniques such as Cyanotype, Photogram, Mordancage and Bromoil, Cyrus Karimipour, Aspen Mays, Brittany Nelson and Meghann Riepenhoff move these techniques into the present tense, disregarding or obscuring representational imagery in the final results.

David Klein Gallery is pleased to kick off 2020 with a presentation of recent paintings, photographs, and sculpture by gallery artists both new and familiar: Ebitenyefa Baralaye, Matthew Hawtin, Scott Hocking, Jisoo Hur, Mario Moore, Marianna Olague, Robert Schefman, and Corine Vermeulen.

Kenny Scharf is widely known for his pop culture murals, paintings, sculpture, and installations. Scharf considers himself a “Pop Surrealist”. As Scharf states: In the early 1980’s, Scharf was a prominent member of the East Village art scene along with his friends and contemporaries Jean-Michel Basquiat and Keith Haring. Scharf participated in many significant exhibitions in New York at that time including the Times Square Show, Club 57 at Club 57, the Open Studio Show at P.S.1 and the 1985 Whitney Biennial. Most recently, Scharf was included in Club 57: Film, Performance and Art in the East Village, 1978-1983 at the Museum of Modern Art and Fast Forward: Paintings from the 1980’s at the Whitney Museum of American Art, both in New York, NY. His murals can be found in multiple cities in the U.S. and abroad, including Los Angeles, CA; New York, NY; Wynwood, FL; Careyes, Mexico; Paris, France; Sao Paulo, Brazil; and Malaga, Spain. Scharf’s Detroit exhibition will feature a number of seminal works including Handy Andy, 2008, Bearjungle, 2010, and Probz, 2018. As a child growing up in 1950s and 60s, Scharf was intrigued and inspired by popular TV culture, especially the saturated color and imagery of daytime cartoons like The Jetsons and The Flintstones. These characters and the wildly imaginative landscapes they inhabit have had a profound influence on Scharf’s work. The cartoons’ playfulness and sunny optimism continue to a provide a foundation for his best work.

Recovery features silverpoint drawings of significant African-American artists, writers, musicians and revolutionaries at rest or enjoying a leisurely activity. Moore, who often paints on copper panels, presents a group of intimately sized portraits of close friends as well as a self-portrait. A focal point of the show is a large-scale oil on canvas titled A Student’s Dream, which depicts Moore lying on a table in what appears to be an early operating theater. The painting is a reference to Moore’s recent awake craniotomy, a surgery he underwent to remove a benign brain tumor. Also included in the exhibition are two recent videos: I Wish It Was Mine and Sorry for the Interruption, produced during Moore’s 2017 residency at the Josef and Anni Albers Foundation. After enduring his own physical trauma and surgery, Moore sought to examine the nature of recovery from trauma and stress and how it is experienced by black men in our contemporary society. He states: “The process of recovery is imperative for a body that has endured a certain trauma or physical strain. Yet, In America, there is an expectation for Black men to perpetually prevail—to keep working, keep fighting, and deny the body rest – despite the pains they may endure. Throughout history, Black men in America have been bombarded with endless conflict against their minds and bodies, rarely ever having opportunity to consider self-care.” Mario Moore, was born and raised in Detroit. He holds a BFA from College for Creative Studies, Detroit and an MFA from Yale, New Haven, CT. His work is in numerous private and public collections including the Detroit Institute of Arts, Winston-Salem State University and Knox College. He was recently awarded the prestigious Hodder Fellowship by Princeton University.

A sixth-generation Detroiter, Hocking is descended from generations of Baltic Polish immigrants and Cornish copper miners who settled in the Upper Peninsula’s Copper Harbor. Hocking states: “The idea of copper mining being a huge part of my family history connected to an overall theme for me. Copper mining in the Upper Peninsula has been going on for thousands of years. The earliest natives living in this region around the Great Lakes were classified as the Old Copper Complex and copper artifacts from this culture can be dated up to 6000 or more years ago...In my time making art in Detroit, copper has always been the most coveted scrap metal, scavenged from any place possible. Scrapping has slowed in Detroit in the last 10 years, but the importance of copper in Detroit is a system that’s thousands of years old, moreover, it’ s a continual form of currency, trade, and a coveted material.” Hocking considers the exhibition to be a culmination of two decades of producing his work in Detroit. The various stages of his practice as an artist are represented by iconic artifacts and sculptures as well as photographic images of several of his significant projects including the Tower of Babel and the Celestial Ship of the North (Emergency Ark) aka The Barnboat. He notes that all of the projects in the show tie into the concept of all that is OLD. With OLD, Hocking addresses the looming presence of a large column in the middle of the gallery with a site- specific installation inspired by a visit he made to the Paris Catacombs in 2015. Throughout history mankind has built cities on top of the cities and graves of the people who came before them. Hocking states that in Detroit, ancient Native-American burial mound sites are in the more industrialized and worked over parts of the city. “...There's a connection to the ancient past, tied in with my familial past, tied in with my personal history.” Hocking is recognized internationally for his interventions into urban and rural landscapes that reference mythology, mysticism and folklore. He has produced and documented numerous site-specific installations in Australia, France, Germany, and Mexico, as well as in multiple locations in the U.S. including Georgia, Indiana, Pennsylvania, Texas and Michigan. His work has been included in numerous exhibitions both nationally and internationally including the Detroit Institute of Arts, the Museum of Contemporary Art Detroit, The Pennsylvania Academy of Fine Arts Museum, The Museum of Contemporary Art Chicago, the Smart Museum of Art and the Kunst-Werk Institute of Contemporary Art in Berlin, among others.