Allie McGhee has been an important pillar of the Detroit art scene for more than five decades with a practice defined by his signature approach to abstraction. This retrospective is a long overdue presentation of significant past works from McGhee’s extensive and dynamic oeuvre, as well as the premiere of ambitious new paintings created for this auspicious occasion.
In the late 1960s, McGhee shifted his practice from representational depictions because he was drawn to the long communicative history of geometry and abstraction in the timeline of humanity. One constant inspiration has been traditional African sculpture and its forms of symbolism. The title of this exhibition—Banana Moon Horn—is the name McGhee has given to the recurring arcing forms that he has explored throughout his career. The Banana Moon Horn has associations ranging from the natural world, humor, and ancient art—myriad interpretations are both intentional and welcome.
Installed as companions, Galaxy Detail and Spirit Music work exceptionally well together. Created in 1979, these early works employ natural materials in their highly textured, simple yet effective compositions. The wire mesh protrudes from the back of the aged wood framing in Galaxy. The subtle color changes and marks move with the shells in Music. Both pieces are rough-hewn yet thoughtful.
Heavily layered in dark, earthy tones, Hunter embodies classic abstract expressionism. The wide brush of rust divides, composes and contains the loose arrangement of elements. Intimate mark-making creates its energy. McGhee has delivered his familiar textured landscape in a ripening configuration.
With Rain Forest, McGhee’s evolution draws on earlier minimal works and paint to take texture to its zenith. This paper folds and bends like fabric. The even but irregularly painted stripes lean on each other at different angles creating visual vibration. An apron string suddenly ejects into the space adding interest.
Just when I thought I’d seen it all, I turned the corner to the back gallery and was met head-on with this extraordinary paneled abstract. Scale is critical in delivering an overwhelming sensation of excitement and wonder through bolts of color and charged marks. Apologies for the image. This piece is so large, my camera bent the image in its attempt to capture the whole thing in one gulp.
I spent a chunk of my childhood living in Stamford, Connecticut because my Dad worked in the city. Due to Dad’s background and passion for art, I visited the New York museums with some regularity. It was love at first sight for the Abstract Expressionists. It lifts my heart to see this genre in the care of such deft hands.
On view through February 13th at Cranbrook Art Museum 39221 Woodward Ave Bloomfield Hills
*images are mine
direct quote from museum or artist statements
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Thank you, Kim. This show is beautiful and, I agree with you, it is long overdue.