Crew members from Earthworks Urban Farm in Detroit pose with their produce.

So my personal Detroit visit included conversations with Matt Sikora, head of evaluation at the DIA, and Jennifer Czajkowski, Direct of Interpretive Programs at the DIA. For those of you into evaluation, the DIA conducts what I consider to be an unprecedented amount of formative evaluation, or evaluation that is done during the formation of an exhibition (like market testing), which dovetails nicely with their strong commitment to innovative interpretive strategies, an effort in which Jennifer is highly instrumental. These interpretive strategies, the incorporation of which is based on the theoretical work of Abigail Housen and stages of aesthetic readiness, include thematic curation of exhibitions, specific language in wall text that isn’t necessarily rooted in art history, and other assistive devices, such as “I Spy” plaques and, my personal favorite, the table in their Fashionable Living exhibition that shows pieces on display being used in an 18th century dinner. The truly innovative model of how learning and interpretation (formerly, education) and curatorial interact to create one type of “optimal visitor experience” is somewhat antithetical to our approach, yet both of our institutions are striving toward the common goal of supporting the relevance of art in everyone’s lives.

The afternoon at the DIA was followed by a tour of Detroit, courtesy of our friends at the MOCAD. Specifically, Luis Croquer, Director, and his staff and colleagues in the community shared what, in combination with the innovation occurring at the DIA, make for great beacons of hope for art in the aforementioned “challenging urban environment.” Among the truly inspiring sites we toured stands the Earthworks Urban Farm and Capuchin Soup Kitchen (which is one of the famed urban agriculture projects that have, pardon the pun, taken root in Detroit, given the amount of unused urban land—fascinatingly enough, policy appears to lag behind the projects that have put Detroit on the map in a new and admirable way and composting and gardening as a primary function for a plot of land in the city remain illegal on the books). Art flourishes in a variety of environments and we witnessed homegrown, community, and what could be considered outsider art blooming in various parts of the city.

Of particular interest is the work of Mitch Cope and Gina Reichert, and in a convergence of the sort that makes my work particularly exhilarating, Mitch and Gina are currently installing “The Neighborhood Project” at the DIA in preparation for an exhibition they will be installing at MOCAD. As part of this installation, they will be highlighting the stories of the neighborhood in which they live, including one gentleman who can tell you the automotive history of ownership up and down the block. Mitch and Gina are at the heart of a project that is growing within their neighborhood—buying inexpensive property (as low as $100 for an abandoned home) and renovating those spaces in the name of purpose of the arts (writing, visual, and otherwise). Mitch and Gina are currently working on “the Power House,” which is a home that for financial reasons was kicked off the grid and through Mitch and Gina’s efforts to use sustainable technology will remain off the grid, integrating solar and wind power, among other techniques to create this artists’ space. Ironically, they paid less for the land and home than they did for the adjacent lot, which now houses the solar panels and converter for the Power House.

Artists like Mitch and Gina are living legacies of the work and vision of Gordon Matta-Clark, and in some ways, we all felt that visiting Detroit was long overdue, but perhaps it was simply the perfect time to, as being immersed in the building cuts, collages, and spirit of Gordon Matta-Clark opened us up in just the right ways to appreciate all that Detroit is just starting to teach us. After experiencing just a taste of what Detroit has to offer, we’re excited to share the community and art treasures of St. Louis with our colleagues in Detroit.