Vol. 2: /On Dance
Featuring Marie T. Hermann
Guest Editor: Biba Bell
Detroit Research is a new journal of practice and artist research for Detroit covering social practice, ceramics, choreography, music, performance, and critical theory. Detroit Research seeks to be a forum for presenting and reflecting upon some of the most challenging post-studio and studio practices emerging in Detroit and to cultivate a critical language for talking about such practices within a national and international framework. Each issue of the journal will have: a guest editor and a featured artist; a presentation on or an interview about an important Metro Detroit art collection; a reflection upon a historically important Detroit journal / space / event; and a work devoted to artist research. Detroit Research will appear in Spring and Fall of each year.
The Making of a Journal
Volume 2 Launch
College for Creative Studies
Select Essays from Volume 2
1/ On Dance
Dance is in and of its scene. Setting, mise en scène, or theatrical context, perhaps we could imagine choreography itself, an “apparatus of capture,” as one of dance’s primary scenes. Choreography moves us into the frame of the architectural, the topo-geographic, and the social. Expanding the scene, all the world’s stage, we continuously move with and against the world. Dance takes place through its refusal to stay in place. […]
Liquor Store Theatre (LST) offers a window into Detroit’s post-bankruptcy gentrification process. In McDougall-Hunt, where the project began, there is a liquor store on just about every corner; on some blocks, there is one on each corner and also one or more in the middle of the block.
“Now pose for me and pose for me now stop…pussy, pussy, pussy, pussy, pussy—you see this pussy? You want this pussy? Please, you can’t afford this pussy.” Vogue—in terms of the pose, the banter, and the walk; all work together to project the cunty realness in feminist exaggerated freedoms. Cunty realness and its definitions lie at two extremes.
Terry2day is a project initiated by people living in Detroit’s Cass Corridor with the intent of documenting the quotidian post-studio practice of artist/dancer Terrance Williams as he performs on the corner of Selden Street and Second Avenue. The corner in which Terry dances plays a pivotal role in the development of the neighborhood, recently rebranded as “Midtown.”
In his 1997 rumination on the relationship between queerness and architecture, architectural critic Aaron Betsky uses the world of 1980’s New York City dance clubs as a way to define “queer space.” For him, these spaces defy the strict dichotomy of private and public through performativity, ephemerality, and ultimately frivolity. The ephemeral and superficial performances that defined the extents of their reality is, for Betsky, the way (predominantly white) gay men spatially presented themselves in the late 1980’s, in cities across the world that were luxuriating in the seemingly boundless boom economies of an emerging neo-liberal globalization...
7/ Marie T. Hermann
Dense flowered wallpaper with deep forest greens, subtle reds and yellows where stems reach out in all directions like vines looking for purchase. The patterns are thick and consuming; they mirror and repeat like Rorschach inkblots across its surface. The kind of wallpaper you get lost in: marvelous, immersive and a bit frightening.
9/ Tony Hepburn
Anthony “Tony” Hepburn was born September 9, 1942 in Manchester, England. While he had been groomed since youth to be a professional soccer player, he chose the path of artist. It may have been the result of an injury, but his early education was uncommon. Tony suffered a turbulent childhood and learning was difficult, especially as a “lefty” was only taught to write right-handed. Fortunately at the age of eleven, when children in England were tested to define their future education, it would be determined that Hepburn would be admitted into Manchester High School for Art, a school whose progressive program evolved around learning through visual making […]
10/ Susanne Hilberry
To know Susanne was to be with an eccentric, insecure, beautiful woman whose self-conflicts drove her. She was the sister or mentor or friend who was deeply connected to you – forever. Everything she did was carefully considered and done right, or she didn’t do it. She was a rebel from the normal. She never had time for the mediocre. She cared so much about making things better in the universe by filling it with visions that were uncompromising, deep, and gorgeous that this mission consumed her.