From the Files: The Viewpoint ’81 Exhibition at Cranbrook Art Museum

One of the perks of my job is the opportunity to sift through our old files when scholars email us with research questions. One such request led me to our records for Viewpoint ’81, an exhibition of works by six artists created for and painted directly on the gallery walls at Cranbrook Art Museum. Daniel Buren, Gene Davis, Sol LeWitt, Patrick Ireland, Rick Paul, and Dorothea Rockburne each contributed to the installation, which was up from January 20 to March 1, 1981.

Cranbrook Art Museum Viewpoint '81 brochure, 1981

I could kiss whoever documented the development of this exhibition. When I got to the old metal file cabinets in storage, I found folders filled with hundreds of slides showing the installation process, along with photographs and mail correspondence between artists and museum employees. Above is the cover of the brochure produced for the show. You can view it in its entirety by clicking this link: Viewpoint ’81 Brochure.

Before the age of desktop publishing, printed materials like this brochure were often created by manually assembling a paste up of each page layout and photomechanically reproducing it. Speaking on behalf of Generation Y, this is mindblowing. But sure enough, in our exhibition files I also found the photographs reproduced in the brochure, encased in paper frames with measurements for the paste up!

Installation of Sol LeWitt's Six Geometric Figures on Red, Yellow, Blue and Black Walls, with measurements for paste up layout.

And some gems from the color slides, most of which were likely photographed by Roy Slade, 1977-1994 Director of the Cranbrook Academy of Art and organizer of the exhibition:

Installation of Sol LeWitt's Six Geometric Figures on Red, Yellow, Blue and Black Walls in Cranbrook Art Museum's North Gallery

Rick Paul's Black and White Series #3 in progress

A CAA student

Cranbrook Academy of Art Director Roy Slade overseeing the installation of Patrick Ireland's (a.k.a. Brian O'Doherty) Wall Painting #6 (without rope) for Joe and Sadie, 1981

Installation of Gene Davis's Black Yo-Yo

Gene Davis's Black Yo-Yo took up the entire available wall space in Cranbrook's Main Gallery

Sol LeWitt was notorious for sending postcards in abundance throughout his life, even for business purposes. This occasion was no different:

Postcard from Sol LeWitt to Roy Slade, December 1980

And finally, the true impetus behind the blog post: a wonderful interview with Gene Davis about the exhibition and his artistic practice, conducted by CAM’s Curator of Collections John Gerard. As far as I can tell, no one has published a monograph on Davis since the paste up days, so perhaps this interview will prove useful for future researchers. Here is a link to the transcript:  Interview with Gene Davis.

Shelley Selim
2013-2015 Jeanne and Ralph Graham Collections Fellow
Cranbrook Art Museum

Saarinen Heaven at the Dam Site Inn

Cranbrook Sighting # 12
Sighter: Shelley Selim
Sighted: Saarinen Tulip Furniture Galore!
Location: The Dam Site Inn, Pellston, Michigan
Date: June 28, 2014

At the end of June my beau and I embarked on a Michigan road trip, driving up north to Mackinac and down the western coast of the state. The Island, Tunnel of Trees, Sleeping Bear Dunes, and plenty of breweries made the list, and when Cranbrook Art Museum director Gregory Wittkopp mentioned to me a restaurant and cocktail bar in Pellston filled with Eero Saarinen furniture, I knew we had to take a special detour.

Cocktail Bar at the Dam Site Inn, Pellston, Michigan

Behold, the Dam Site Inn! A staple on the Maple River since 1953, it seems little has changed about the decor since it opened, and how wonderfully so! It is quite a feeling to sip a Manhattan in this Saarinen tulip garden, and the wood paneling and whimsical brass light fixtures supplement the nostalgic ambiance. Aside from the furniture, my favorite decorative features of the bar were the textile wall panels, visible in the above photo and shown in detail below.

Wall covering at the Dam Site Inn

Biomorphic and boomerang patterns in glistening, silky gold–did a Ruth Adler Schnee textile get caught in a disco inferno? Incredible. A must-see if you ever find yourself in Pellston!

Shelley Selim
2013-2015 Jeanne and Ralph Graham Collections Fellow
Cranbrook Art Museum

Warhol on Vinyl (It’s Record Store Day Tomorrow!)

We’re big vinyl connoisseurs here at the Art Museum. One of us collects albums with covers featuring mid-century furniture (like this one!). Another spent a weekend scouring every record store in Stockholm for a Swedish pressing of Lee Hazlewood’s Cowboy in Sweden, to no avail. So it’s no surprise that we are pretty pumped for Record Store Day tomorrow, an annual nationwide event–held on the third Saturday of April–for which record stores feature limited edition pressings and exclusive releases from hundreds of musicians, new and old.

Record collecting has experienced a surge in recent years, particularly for my generation. If we want to get diagnostic, it all could be chalked up to a cultural response to the immateriality of music (and more broadly, our lives in general); a longing for the days past when music–in its vinyl manifestation–was tangible, permanent, and thus held more personal value. But there’s also that big, beautiful album cover to consider. It’s just not the same in its 72-pixel form on the screen of a smartphone. How is one to appreciate the true graphic genius of an Alex Steinweiss at that scale?!

Warhol Album Art

This summer, Cranbrook Art Museum will celebrate one artist’s mastery of the album cover with Warhol On Vinyl: The Record Covers, 1949-1987+, opening June 21st. Andy Warhol designed over fifty album covers in the duration of his career, and in the first exhibition of its kind, the world’s preeminent collection of these works–generously donated to the museum by Frank M. Edwards and Ann Williams–will be on display in its entirety. Viewers are invited to examine the interplay between Warhol’s mass-produced graphic designs and the fine artworks that brought him his greatest notoriety–and with the additional display of record covers appropriating the artist’s imagery after his death, we can also examine the impact of the art world’s greatest “borrower” on future generations of creatives. More details about the exhibition are on our museum website.

But this isn’t Cranbrook Art Museum’s first foray into the motley realm of album art. In January of 1979, the museum mounted Record Album Art and the Recording/Artist, a touring exhibition from Syracuse University’s Joe and Emily Lowe Art Gallery, curated by Nancy Alder. The show featured a melange of album covers spanning the twentieth century, and considered the historical progression of the design process, visual trends, and the interplay of fine and commercial art.

Zephyr, Sunset Ride, 1972

The cover illustration for Zephyr’s Sunset Ride (1972) by David Willardson was highlighted for its allusions to the Art Deco travel poster–like this one or this Villemot.

Erich Leinsdorf and the Los Angeles Philharmonic Orchestra, Wagner: Prelude and Love Death and Strauss: Death and Transfiguration, 1962. Cover art by Ben Shahn. Image via shugarecords.com.

The Social Realist painter Ben Shahn is celebrated for his contributions to graphic design–perhaps the most recognizable being his incredible posters created for the Office of War Administration during World War II, all but two of which went unpublished. He designed many original album covers (one amazing Pinterest user has assembled most of them here), but was also known to simply reuse works from his painting repertory. The above Leinsdorf-conducted recording of Wagner and Strauss, which was also displayed in the exhibition, features Shahn’s The Phoenix on its cover, a gouache and ink work he executed a decade earlier.

Fortuitously, a review of Record Album Art and the Recording/Artist in Art Journal noted, “[A]lthough the show’s emphasis seems to have settled on the historical evolution of record packaging as an art form…the direct hand of “fine” pop artists has also been visible. Some seven years ago I was belatedly introduced to the Rolling Stones via Andy Warhol’s witty album for Sticky Fingers: a screen print of jeans incorporating a real zipper opening to an inner print of hirsute nudity. The time didn’t seem ripe to donate  it to our favorite stuffy museum’s graphics department, but it should surface again in a Warhol retrospective–and the Syracuse show paves the way.”

We look forward to seeing fellow vinylphiles at the Warhol exhibition this summer, and feel free to share your favorite album artwork in the comments. I’m pretty partial to Nick Price’s illustration for Never For Ever myself.

Shelley Selim
2013-2015 Jeanne and Ralph Graham Collections Fellow
Cranbrook Art Museum

References:

“College Museum News: Exhibitions,” Art Journal 37, no. 3 (1978): 256.

Pipsan: The Lesser-Known (But No Less Impressive!) Saarinen Sibling

CRANBROOK SIGHTING: INSIDE THE VAULT
Sol-Air Canvas Chaise Lounge, c. 1950
Pipsan Saarinen Swanson and J. Robert F. Swanson for Swanson and Associates
Iron, rope, and canvas
34 x 23 x 24 in. (86.4 x 58.4 x 61 cm)
Transfered from the Cranbrook Academy of Art

If it were up to me, every month would be Women’s History Month, but alas for the foreseeable future it is *officially* delegated to March in the United States, and today is our last chance to celebrate! How auspicious that March 31 also happens to be the birthday of Pipsan (born Eva Lisa) Saarinen Swanson, designer of furniture, interiors, fashion, and textiles, and younger sister of one of the most recognizable names in modern architecture, Eero Saarinen. Pipsan’s father Eliel was of course the architect of the Cranbrook Campus and President of the Cranbrook Academy of Art from 1932-1946, but before being lured to Bloomfield Hills by Cranbrook founder George Gough Booth, he was a visiting professor of architecture at the University of Michigan. One of his star students was Grand Rapids native J. Robert F. Swanson, who upon graduation founded the Swanson and Booth architectural firm at Cranbrook with his University of Michigan classmate Henry Scripps Booth, George’s son. It was here that Swanson was introduced to Pipsan, and immediately Cupid wielded his mighty arrow–they were married in 1926. After Swanson broke away to establish his own firm, Swanson and Associates, Pipsan was enlisted as an interior designer for the company, and the husband and wife team would continue their working and romantic partnership for the rest of their lives.

Pipsan Saarinen Swanson and J. Robert F. Swanson, undated. Photograph courtesy Cranbrook Archives, J. Robert F. Swanson and Pipsan Saarinen Swanson Papers.

Cranbrook Art Museum holds in its collection a wonderful array of objects designed by the Swansons, as well as many costume, glass, and textile designs executed solely by Pipsan. Shoshana Resnikoff, Collections Fellow for the Center for Collections and Research (and frequent guest blogger on Cranbrook Sightings) has written a beautiful account of one such costume design on our sister blog, Cranbrook Kitchen Sink.

Sol-Air Canvas Chaise Lounge, c. 1950. Swanson and Associates. Photo (c) Cranbrook Art Museum.

In addition to their architectural and interior designs, Swanson and Associates often designed furniture and textiles for regional manufacturers. In 1949, the firm was hired by Cincinatti furniture company Ficks Reed to develop a line of casual pieces for the home that could transition from indoor to outdoor use. The Swansons ultimately created a suite of twelve chairs, tables, and benches, as well as a chaise lounge and a daybed, for a line they titled “Sol-Air”–likely a play on the word “solar,” as other titles considered were “Sunair” and “Solunair.”

Promotional photograph for the Sol-Air furniture series. Photograph courtesy Cranbrook Archives, J. Robert F. Swanson and Pipsan Saarinen Swanson Papers.

Sol-Air advertisement, June 1950. Photograph courtesy Cranbrook Archives, J. Robert F. Swanson and Pipsan Saarinen Swanson Papers.

The furniture series was a hit with the design community, ultimately being selected for the 1950 inaugural (and now notorious) “Good Design” exhibition at the Chicago Merchandise Mart, co-sponsored by the Museum of Modern Art in New York. This October 1950 press release from the MoMA outlines the reception of the exhibited works based on polls from different categories of the public, and Pipsan’s Sol-Air Canvas Chaise Lounge came in second place among buyers–quite a propitious sign for the Ficks Reed wholesalers!

Sol-Air furniture featured in interior design editorial, photographed by Herbert Matter for House and Garden, July 1950. Photograph courtesy Cranbrook Archives, J. Robert F. Swanson and Pipsan Saarinen Swanson Papers.

The weatherproof, bright persimmon chaise lounge radiated casual, youthful relaxation, and throughout the suite’s five years in production was consistently one of its best sellers. With spring finally (FINALLY) upon us, I’ll take reclining in one of these nautically-inspired stunners over curling up in a womb chair any day. Well done, Pipsan!

Shelley Selim
2013-2015 Jeanne and Ralph Graham Collections Fellow
Cranbrook Art Museum

Music-Mushrooms-Manuscripts: John Cage at Cranbrook

John Cage Listens to John Cage, 1974. Offset lithograph poster designed by Michael McCoy, with photography by Frances Greenberg. Printed at Cranbrook Press. (c) Michael McCoy. Photo courtesy Stephen Milanowski.

In early April of 1974, artist-composer John Cage traveled to Cranbrook to celebrate the opening of Music–Mushrooms–Manuscripts at the Art Museum, an exhibition of his drawings, photographs, books, poems, prints, and sound recordings. Featured works included his 1969 series of Plexigrams, Not Wanting to Say Anything About Marcel, and the Mushroom Book, both printed by Irwin Hollander (1973-1975 head of the Cranbrook Academy of Art Printmaking department). On the evening of April 12, Cage attended a concert of his own music—aptly titled “John Cage Listens to John Cage”—performed by local musicians as well as students from the Cranbrook Upper School and neighboring Andover and Seaholm high schools. The program featured a 35-piece ensemble of brass, string, woodwind, and non-pitched percussion instruments for the performance of Atlas Eclipticalis, executed in unison with the multi-piano composition Winter Music. Other works included Variations IV, 4’33″, 0’00″, and Prelude for Meditation, the latter representing his earlier compositions exploring ambient noise and prepared piano. The entire evening was conducted by a seventeen-year-old Steve Tennent, who had just graduated from high school four months earlier, and a promotional poster was designed by co-head of the Cranbrook Academy of Art Design department, Michael McCoy.

Steve Tennent conducts the orchestra from the back of Cranbrook Upper School's Little Gym. Photo courtesy Steve Tennent.

During his week-long visit to the Academy, Cage also performed a 2 ½ hour long excerpt from Empty Words, a text composition he would not complete until the following year. What one reviewer deemed a “metaphysical ode to extemporania,” the work comprised of drawings as well as phrases, words, and sounds randomly culled from the Journal of Henry David Thoreau.

Empty Words folio. Photos courtesy Stephen Milanowski.

Cage spent much of his time at Cranbrook with Irwin Hollander’s Printmaking students, playing chess and conversing but holding no formal critiques. At some point, the “Cage Bag” project materialized, spearheaded by Printmaking students Chuck Baughman and Doug Huston. A suite of droll and imaginative prints–including a program for the concert performance and limited edition postcards–were tucked into white paper bags silk-screened with Cage’s face.

The Cage Bag and its contents. Photo by Doug Huston.

Students assembling the Cage Bag. Kim Rendleman (MFA Printmaking '74) is sitting at the end of the table on the left, with Doug Huston (MFA Printmaking '75) to her right and Stephen Milanowski (BFA Photography '78) standing behind her. John Cage can be seen at the left edge of the photograph, engrossed in a game of chess with a student (or possibly Irwin Hollander). Photo courtesy Doug Huston.

Twelve limited-edition postcards were created, all featuring CAA student Jim Poole wearing the Cage Bag as a mask in various settings around campus. Photo courtesy Stephen Milanowski.

Back of Cage postcard. Photo courtesy Stephen Milanowski.

"John Cage Listens to John Cage" concert program. Photo courtesy Stephen Milanowski.

"John Cage Listens to John Cage" concert program. Photo courtesy Stephen Milanowski.

The Cage Bags were distributed to the audience on the evening of the “John Cage Listens to John Cage” performance, with the goal to have everyone in attendance wear the bags over their heads, creating a sea of John Cages staring back at the stage. Convincing listeners to participate proved a fruitless venture, but the night was capped off by two streakers masked in Cage Bags running through the gym and improvising a keyboard piece for Variations IV.

Doug Huston chases runaway Cage Bags on Academy Way. Check out those silver shoes! Photo by Stephen Milanowski.

At 4pm on Sunday, March 23, I’ll be lecturing more on John Cage’s visit to Cranbrook, as well as discussing Mushroom Book and Sounds of Venice, two Cage works currently on display in the Cranbrook Art Museum exhibition My Brain Is in My Inkstand: Drawing as Thinking and Process. Immediately following will be a performance of Sounds of Venice by Detroit musician and composer Joel Peterson (check out his amazing gallery/restaurant/performance space Trinosophes, across from Eastern Market). Special thanks go out to Steve Tennent, Stephen Milanowski and Doug Huston, who provided so many incredible photographs and memories from that week. And if you haven’t yet seen My Brain Is in My Inkstand, be sure to catch it soon–the exhibition closes on March 30!

Shelley Selim
2013-2015 Jeanne and Ralph Graham Collections Fellow
Cranbrook Art Museum

Cranbrook and the American Look

Cranbrook Sighting # 11
Sighter: Shelley Selim
Sighted: Cranbrook Art Museum and Library
Location: the Internet
Date: March 10, 2014

The Internet Archive continues to be a hardy source of endearment for Shoshana and me, and this weekend I found myself traipsing through a favorite district of its offerings–Prelinger’s backlog of mid-century Populuxe videos. The term “Populuxe” was coined by cultural and design historian Thomas Hine for his 1986 book of the same name, which analyzed the hyper-consumerism that swept the United States in the 1950s and ’60s. Product styling–an extension of a collective fervor for material abundance and variety–became a wellspring of national pride during the Cold War, particularly as a means of counter-defining American capitalist prosperity against the Soviet Union’s Communist economy.

Many “Populuxe” promotional films were produced in the mid-century, and American Look, sponsored by General Motors’ Chevrolet Division, is a champion of its genre. It has it all: bright colors (in the ’50s, practically everything was offered in an array of colors, from home appliances to toilet paper), all the trappings of the new cult of domesticity  (housewives, home ownership, picnics, pools, backyard barbeques), and of course plenty of furniture and home goods created by Americans and our allies (particularly the Scandinavians).

See how many designs by Cranbrook graduates and former faculty members you can spot in this film, which is part one in a series of three. Spoiler: There are a bunch, including several chairs by Harry Bertoia, whose 99th birthday just happens to be today!

Posted by Shelley Selim
2013–2015 Jeanne and Ralph Graham Collections Fellow
Cranbrook Art Museum

Happy Birthday Albert Herter!

CRANBROOK SIGHTINGS: CRANBROOK HOUSE
Albert Herter
The Great Crusade
1920
Cotton, wool, and silk tapestry
Manufactured by the Herter Looms, Inc., New York, New York
156 x 120 inches
Gift of George Gough Booth and Ellen Scripps Booth

A day late but with no less affection, we here at the Cranbrook Art Museum wish a very happy birthday to Albert Herter, born on March 2, 1871. The son of Christian Herter, one half of New York’s famed Herter Brothers design and decorating firm, Albert went on to become a successful artist and decorator in his own right. Over his lengthy career he painted portraits of the Bouviers, executed many private and civic murals in the United States and Europe, opened and decorated an exclusive Montecito hotel for America’s elite, and in 1908 founded the Herter Looms weaving company.

Although Herter Looms manufactured a variety of textiles for home furnishings, it is perhaps best known for its output of revivalist tapestries, often designed by Albert. Below is an essay about Herter’s The Great Crusade tapestry, written by former Cranbrook Academy of Art director Gerhardt Knodel for the 2004 publication Cranbrook Art Museum: 100 Treasures. For even more about the tapestry’s design and execution, check out Robbie Terman’s post on our sister blog, Cranbrook Kitchen Sink.

Albert Herter, The Great Crusade, 1920

[Cranbrook founder] George Booth was inspired to mark the end of the World War I in 1918 with a commemorative tapestry designed in the European tradition. His pen and ink sketch was submitted to renowned designer Albert Herter in New York City, who developed Booth’s concept and oversaw the work’s production by the Herter Looms in 1920. The resulting tapestry is beautiful, unique, and dense with political symbolism.

Since the Middle Ages, tapestries functioned as a means to document and glorify the “progress” of civilization. The Great Crusade presents America, whose involvement in the battlefields brought the war to an end, as the savior of European culture. The tapestry depicts the great political and religious leaders of Europe’s cultural past standing on the ground (Henry VIII, Francis I, Joan of Arc, among others) welcoming the triumphant victor, General Pershing on horseback, leading his troops. A Renaissance-style angel of victory is suspended in the sky above the crowd, accompanied by American bi-planes, the first ever used in warfare. The tapestry is a “red-carpet” homage to the victors.

-Gerhardt Knodel
Essay from Cranbrook Art Museum: 100 Treasures, ed. Dora Apel (Bloomfield Hills, MI: Cranbrook Art Museum, 2004), 64.

Catherine Murphy’s Nighttime Self-Portrait

CRANBROOK SIGHTINGS: INSIDE THE VAULT
Catherine Murphy
Nighttime Self-Portrait
1985
Oil on canvas
16 ¾ x 16 1/8 inches
Gift of Rose M. Shuey, from the Collection of Dr. John and Rose M. Shuey
Image © Catherine Murphy

From this gusty tundra of unrelenting frigidity (-20 degrees with windchill today!), we here at Cranbrook Art Museum would like to extend our warmest and most heartfelt congratulations to Catherine Murphy, the 2013 winner of the Robert De Niro, Sr., Prize, awarded to one outstanding mid-career artist each year. Since the 1960s, Murphy’s representational paintings have been widely exhibited and prolifically produced, but the artist’s talent for nuanced channels of perception remains at times underappreciated.

Catherine Murphy, Nighttime Self-Portrait, 1985

Cranbrook Art Musum holds Murphy’s Nighttime Self-Portrait (1985) in its permanent collection, acquired as part of a generous gift of contemporary paintings and sculpture from the Collection of Dr. John and Rose M. Shuey in 2001. The Shueys were principally drawn to abstraction during their many decades of collecting, but the somber power of Murphy’s Nighttime so deeply enthralls, it is no wonder they made an exception for this piece. (And, when pressed, Rose Shuey told museum director Gregory Wittkopp that this painting was one of her personal favorites). Confronting the roles of observation and audience, Murphy’s own darkened countenance is captured within a window reflection, conflating the positions of both artist and viewer. Hidden behind a window mullion, a fracture in elevation between the porch and the front of the house subtly reveals the passing of time. Here Murphy challenges the immediacy of the captured image and highlights the minute variables in every mode of awareness.

Personally, I delight in Murphy’s work from the 1980s for its inquisitiveness of perspective and examination of the ordinary. With a quality reminiscent of Vilhelm Hammershøi’s haunting domestic vignettes, her glances up stairwells and through windows and doors are muted in tone and both meticulous and hazy, evoking the dreamy disquiet of a vivid memory. As Linda Nochlin has noted, Murphy’s paintings are “charged with a very contemporary awareness of the ambiguities of the domestic, of the ways, both dramatic and subtle, that the known shades into the mysterious, the personal into the objective, the cozy in to the uncanny.”

Bravo, Ms. Murphy! We are so thrilled for you, and look forward to many more years of enchanting artistic output.

Posted by Shelley Selim
2013–2015 Jeanne and Ralph Graham Collections Fellow
Cranbrook Art Museum

References:
Diane Kirkpatrick, “Catherine Murphy,” in Three Decades of Contemporary Art: The Dr. John & Rose M. Shuey Collection, ed. Dora Apel (Bloomfield Hills, MI: Cranbrook Art Museum, 2001), 66.

Valentine’s Day at Cranbrook

CRANBROOK SIGHTINGS: INSIDE THE VAULT
Shiro Ikegawa
Valentine’s Day at Cranbrook
Suite of eighteen prints
Photo-Lithography and serigraphy three-color separation relief
Photography and lithography by David W. Wharton and Michael D. Powe
Printed at Cranbrook Academy of Art
All photos of Valentine’s Day at Cranbrook (c) Estate of Shiro Ikegawa

What better way to celebrate Valentine’s Day than by taking a leisurely stroll around the Cranbrook campus in sub-zero temperatures, photographing ice formations and footprints in the snow? In 1977, artist Shiro Ikegawa (1933–2009) did just that, commemorating one of America’s most beloved and reviled holidays with a suite of eighteen photo-lithographs and silk-screened prints. Cranbrook Academy of Art’s printmaking department invited Ikegawa for a two week visit, during which time he led critiques and became an acting art director of sorts, supervising students as they executed his works on the lithographic press.

The three images below were published in a Birmingham-Bloomfield Eccentric article about Ikegawa’s visit. Photos by Barbara McClellan.

Ikegawa surveys the "Valentine's Day" prints

A prophetic reference to Cranbrook Art Museum’s current exhibition, My Brain Is in My Inkstand: Drawing as Thinking and Process?

Czashka Ross remembers taking sunrise walks with Shiro, and making a “to-die-for chocolate sauce for ice cream for 40 for the studio dinner.”

On the morning of Valentine’s Day, Ikegawa spent three hours out in the cold documenting scenes with his camera from around Cranbrook’s grounds. The portfolios he created with printmaking students David W. Wharton, Michael D. Powe, and Czashka Ross included prints of his photographs from that day, as well as a copy of a letter from printmaking artist-in-residence Connor Everts inviting him to visit, maps of Oakland county, and recurring representational drawings of fish, which persisted as important symbols for the artist throughout his career.

Valentine's Day at Cranbrook Portfolio

Valentine's Day at Cranbrook Title Page

Letter by Connor Everts, to Ikegawa inviting Ikegawa to Cranbrook as visiting artist, January 1977

Map of Southeastern Michigan pointing out Cranbrook, Metropolitan Airport and Arrival Time

Colophon for Valentine's Day at Cranbrook

Valentine's Day at Cranbrook, Dolly Varden or the Bull Trout

Various Scenes at Cranbrook

Color reproduction of La Petite Clef, by Mark di Suvero

Foot Steps on Snow -20 Degrees, Snow Pass

Ice Fishing

Color reproduction of Printmaking Studio

Drawing of Fish on Denim Fabric

Ikegawa and the students created the portfolios as a limited edition of fifty. With eighteen prints included in each, the project was extremely arduous. Wharton recalls transferring the images onto lithographic stone, applying the ink by hand, and printing each one individually. The colors in each tri-colored serigraph also had to be separated by hand. After several fourteen-hour days in the studio, a compact and perfectly packaged treasure emerged—the product of a true labor of love!

Posted by Shelley Selim
2013–2015 Jeanne and Ralph Graham Collections Fellow
Cranbrook Art Museum

REFERENCES
Corinne Abatt, “A Commemorative Folio: Artist Visits Cranbrook and Leaves Behind a Gift,” Birmingham-Bloomfield Eccentric, February 24, 1977.

Interviews with David W. Wharton and Czashka Ross.

 

Architecture in Helsinki: Places Like This

CRANBROOK SIGHTING #9
Sighter: Shelley Selim
Sighted: Eliel Saarinen, Helsinki Central Railway Station
Location: Helsinki, Finland
Date: July 4, 2012

There was a two week block of last summer when at any given moment I could be found clapping, beaming, and prancing with merriment; arms open to our joyous earth’s embrace. No, I hadn’t finally completed my master’s degree (that would come later—with commensurate celebrating in its own right), but rather had landed on Nordic soil, where I completed the remainder of my graduate coursework studying Scandinavian design amidst the incredible apples and countrysides of Sweden and Finland.

How befitting that on our American day of independence, I disembarked in Finland, a country that was also shaped by the struggle for its own autonomy (a struggle which persisted for centuries longer than that of the Tories and the Patriots, I might add). That morning I launched my tour-laden itinerary with a walk to the hub of public transit: the Helsinki Central Railway Station. Conceived by Cranbrook mahatma Eliel Saarinen in 1904, it underwent myriad design revisions before reaching its completed form in 1919. While technological modernization has necessitated considerable renovations to the building’s interior over the years, the external structure remains largely in its original, magnificent state.

Please excuse my blatant Hockney expropriation here. Armed with only an iPhone and a cheap point-and-shoot camera, in my travels I’m often forced to “assemblage” my fractured photographs in a sad attempt to capture the visage of any large building situated on a narrow street (read: most of metropolitan Europe).

Like much of Saarinen’s oeuvre, the Helsinki Central Railway Station is widely celebrated as an architectural masterpiece. Personally, it most appeals to me both as a signifier of the growth of the twentieth-century urban landscape as well as Eliel’s own transition toward a more rationalist approach to design. His original elevation aligned closely with the turn-of-the-century National Romantic style he championed in Finland, most notably the National Museum of Finland (1902-1912) and the Finnish Pavilion at the 1900 Exposition Universelle in Paris, both efforts of the Gesellius, Lindgren, and Saarinen architectural firm.

But in the early 1910s, at this point fully abreast of the appeals for modern architecture radiating from Germany, Saarinen eschewed the spired tower and carved granite bears of his initial design, replacing them with Olbrich-esque vaults, sweeping vertical lines, and an arresting quad of proto-deco Emil Wikström “Stone Men” sculptures. With arms extended, presenting lantern globes to railway visitors, the brawny figures can be seen as symbols of a newly empowered and independent Finland, or perhaps a nod to the increasing accessibility of once distant lands at the dawn of the 1920s vogue for travel.

Left: Window detail from the Helsinki Central Railway Station. Right: Saarinen House (completed 1930), photo courtesy Cranbrook Archives.

The stepped masonry and geometric patterning in the leaded windows would also become Saarinen trademarks, visible on many of the buildings throughout the Cranbrook campus, including the architect’s own home.

Posted by Shelley Selim
2013-14 Jeanne and Ralph Graham Collections Fellow