↑ KAWS, ALONE AGAIN (2016). Acrylic on canvas, 72 x 120 in. Photo: Farzad Owrang.



MAY 10 – AUGUST 4, 2019

KAWS: ALONE AGAIN is a solo exhibition of the Brooklyn-based artist KAWS (American, born 1974), organized by the Museum of the Contemporary Art Detroit’s Executive Director Elysia Borowy-Reeder in close collaboration with the artist. Featuring five sculptures, a site specific wall work, and three paintings, this highly anticipated exhibition will occupy the main exhibition space of the museum. ALONE AGAIN will showcase the artist’s masterful compositions that appear to be abstract while retaining the artist’s colorful acrylic palette with his trademark motif. Riffing on specific genres of pop art, figuration, deconstruction, collage, and fashion, the exhibition represents an underlying irreverence and affection for our turbulent times, as well as KAWS’ agility as an artist to appropriate and transform.

↑ Eddie Martinez, Time Takes (2018). Oil paint, silkscreen, gesso, spray paint, and pencil, 72 x 108 in. Photo: Stan Narten/JSP Art Photography.



MAY 10 – AUGUST 18, 2019

Eddie Martinez: Fast Eddie is a solo exhibition of the Brooklyn-based artist Eddie Martinez (American, born 1977), organized by Museum of Contemporary Art Detroit executive director Elysia Borowy-Reeder in close collaboration with the artist. Featuring over 17 new paintings, this solo exhibition will occupy two gallery spaces showcasing never-before-seen paintings. Martinez’s masterful abstract compositions include the artist’s signature motif of floating heads and gestural sweeping paint strokes. Spanning from popular urban culture to action painting, automatism, and Surrealism, Martinez’s work joins together painting and drawing, abstraction and representation in non-traditional ways. Permeated with a sense of personal iconography, his practice often combines signature figurative elements, such as bug-eyed humans and eclectic headgear with gestural, abstract blocks of color. Energetic and raw, his paintings employ an aggressive use of color and texture with various combinations of oil, enamel, spray paint, and collage elements on canvas.

↑ Mary Helena Clark, The Glass Note (2018)



MAY 10 – AUGUST 18, 2019

Unboxing: Doublespeak explores the boundaries between storytelling, self-perception, and moving image. The works in this exhibition engage the human voice as both material and technology, bending accepted conventions of vocal intonation and articulation vis-à-vis their application in film and media. Comprised of a suite of video installations by Mary Helena Clark, Helina Metaferia, Laure Prouvost, and Bailey Scieszka that unfold in four parts over the course of the exhibition, Doublespeak asks viewers to reimagine speech as a narrative device, as well as an instrument of individual empowerment. Organized by Pat Elifritz, Curator of New Media and Technology, Doublespeak is the first installment in Unboxing, an ongoing series of exhibitions, screenings, and performances at the Museum of Contemporary Art Detroit dedicated to emerging ideas at the crossroads of technology, media, and contemporary art.

↑ Nicolas Lobo, Triple Rose Mask Residue Test (Rose water hydrogel, gooseberry hydrator, Cannabis pain creme, double phalaenopsis) (2019) UV ink on aluminum, 12×18 in. Image courtesy of Nina Johnson Gallery.



MAY 10 – AUGUST 4, 2019

Mike Kelley’s Mobile Homestead at MOCAD presents a new series of works by Nicolas Lobo (b. 1979, Los Angeles; lives in Miami) in a solo exhibition entitled Wellness Center. Miami’s identity as a resort city built atop a crumbling ecology
 is a source of rich contemplation for Lobo’s research-intensive process. His work often focuses on points of friction within the urban milieu, from informal markets—transnational multi-service shops and relics of the leisure industry. In recent work, the Miami-based artist has focused on ways in which the human body extends into the socioeconomic, spanning between individual and collective space. Wellness Center is conceived specifically for Mike Kelley’s Mobile Homestead at MOCAD, in which Lobo, concerned with the tension between labor and leisure imagines wellness and healing from a variety of collective harms; presenting a prototype for utilities of a new kind.