Summer Exhibitions are Now Open!

After many weeks of install, Cranbrook Art Museum was thrilled to unveil six new summer exhibitions over the weekend! Our team of preparators at the museum is truly outstanding, and it was a joy to watch all of the shows slowly come to life through all of their hard work. When I’ve had spare moments these past few weeks, I’ve taken the opportunity to walk through the galleries and photograph some of the installation for our Instagram page. Here are a few more highlights of the design and construction process:

Beginnings of the purple rhombus didactic panel for Modern/Moderna

Modern/Moderna Screening Room

Cranbrook Goes to the Movies, ready for object placement

Bust of a Chippewa Man and a stuffed Red Head Duck

Curator Shoshana Resnikoff tests the lighting for the Kingswood School Cranbrook Tennis Championship Bowl in Cranbrook Goes to the Movies

With objects inside their vitrines, the Movies installation evokes a moody specimen shelf!


South Gallery, prepped for Paul Evans: Crossing Boundaries and Crafting Modernism

A couch and a coffee table from Evans's Directional Furniture Line

This Paul Evans Cityscape cabinet makes beautiful shadows on the walls

The lower galleries get painted for Warhol on Vinyl: The Record Covers, 1949-1987+

Enter the Vitrines!

Records and wall text after placement in Warhol on Vinyl


The Meditator, pre-paint and pholage, for Culture Breakers: The Living Structures of Ken Isaacs. All three Living Structures were built by 2010 CAA 3D Design graduate Reed Wilson.

The long pholaging process

Preparators John, Mario, Michael (hi!), and Mark assemble the Meditator

Shoshana takes the Meditator for a test run

Beginnings of the Title Wall, designed by Detroit's Unsold Studios

Midway through...

The final product!

Our brand new program of exhibitions is now open for the summer and into the fall. Check out some photos from Friday’s Member’s Opening on our Facebook page and come visit in person to enjoy all the fruits of our labor–Cranbrook Art Museum is open every Wednesday through Sunday, 11am to 5pm!!

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


A Paul Evans Moment

Cranbrook Sightings #4
Sighter: Shoshana Resnikoff
Sighted: Paul Evans furniture
Location: New York City
Date: January 26, 2013

I love Cranbrook’s impressive history of 20th century art and design, but sometimes a girl needs to revisit her roots in the 18th century.  It was with that in mind that I went out to New York’s Americana Week at the end of January.  For fans of 18th and 19th century American decorative arts, Americana Week is like Woodstock.  Auction viewings followed by thrilling sales, museum exhibitions devoted to “brown furniture” or master craftspeople, and of course, the Winter Antiques Show at the Park Avenue Armory, where dealers, collectors, and academics gather to see the historical treasures that have resurfaced in the past few years.

This year was my second time at the Winter Antiques Show and I was looking forward to connecting with old friends, both human and furniture (I’m looking at you, 18th century japanned high chests).   I figured I’d be leaving Cranbrook behind for the weekend, but what I stumbled upon instead was a Paul Evans Moment.

A Cranbrook Academy of Art student in 1952, Paul Evans crossed boundaries between modern design and historic craftsmanship when he went to work as a craftsman at the living history museum Old Sturbridge Village.  Evans created enormous, heavily-decorated furniture pieces that showcased his metalsmithing skills while blurring the lines between functional and sculptural in industrial design.

In fall of 2013 the James A. Michener Art Museum will be staging a retrospective of Evans’ work, after which Cranbrook will play host to the exhibition.  As the museum gets into the swing of exhibition planning for the coming year, Paul Evans is the talk of the office.  So while I’d totally expect a Paul Evans encounter at Cranbrook, running into him surrounded by Queen Anne chairs and 18th century samplers was a surprise.

After I got over my initial shock, however, it suddenly made sense to see Paul Evans at the Armory.  As we begin to take a longer historical look at the twentieth century, there is something meaningful about contextualizing Evans within the history of American craftspeople.   The Winter Antiques Show is all about examining and celebrating the objects made by talented artisans over the course of three centuries, and Evans’ work situates him right smack dab in the middle of that.  His tools may have been welding equipment rather than awls and hand saws, but Paul Evans is yet another story in this long tradition of people producing “stuff” that blurs distinctions between beauty and functionality and of creating art that can be used in the most immediate of ways.