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Join us for a panel discussion with Detroit artists Sydney James, Hubert Massey, and Mario Moore, co-organized by Cranbrook Art Museum and the Detroit Institute of Arts, with introductions by Laura Mott, chief curator, Cranbrook Art Museum, and Katie Pfohl, associate curator, Contemporary Art, Detroit Institute of Arts. 

Organized to accompany Cranbrook Art Museum’s exhibition Skilled Labor: Black Realism in Detroit, on view through March 3, 2024, this discussion will take place in the DIA’s Rivera Court, the location of Diego Rivera’s iconic Detroit Industry Murals.  

The Detroit Industry Murals are a hallmark of the DIA and the city of Detroit, and have influenced generations of artists, particularly those who are part of Detroit’s vibrant contemporary mural movement. During this discussion, James, Massey, and Moore will discuss Rivera’s enduring influence on mural practice in Detroit.

A symbol of creative vibrancy for the city, contemporary mural work also raises questions of representation, equity, and ownership connected to Rivera’s explorations of labor and industry almost a century ago. This vital dialogue among artists will explore how mural work continues to shape Detroit’s artistic and cultural landscape. 

Image: Hubert Massey, Sketch for Detroit-Crossroad of Innovation (in process). Courtesy of Dr. Hubert Massey. 

Black musicians have always been integral to country, folk, blues, and Americana music genres; in many instances, it was Black musicians who first created these forms. The American music industry has an equally long history of not supporting them, or excluding them completely.

For these reasons, Black Opry was founded by Nashville's Holly G. as a collective of like-minded musicians, writers, producers, and supporters who created a website where Black artists could be heard and celebrated. The Black Opry Revue is the touring element of this collective and highlights their diversity of sound and stories. Every Revue features a unique line-up of Black artists.

For this program Friday Night Live will include performances by Isaiah Cunningham, Christine Melody, Jett Holden, and Nathan Graham. 

This program is part of a companion series of film and music events presented in celebration of Regeneration: Black Cinema, 1898–1971, on view at the Detroit Institute of Arts Feb. 4–June 23, 2024. Regeneration is organized by the Academy Museum of Motion Pictures.  

Black History Month at the DIA is generously supported by Arn & Nancy Tellem.

(USA/1939—directed by Leo C. Popkin) 

Louise Beavers gives a commanding lead performance as the crusading Mother Barton in this race film long believed to be lost. Beavers plays a probation officer who comes to the defense of young inmate Freddie (Reginald Fenderson) and his pals (the Harlem Tuff Kids) who are subject to constant harassment at a corrupt reform school. The film’s director, Leo Popkin, is one of the three co-founders of the Million Dollar Productions company that produced and distributed films for Black audiences. Its other co-founders were Popkin’s brother Harry and writer-producer-actor Ralph Cooper, “The Dark Gable.”

This screening will be introduced by special guest Rhea Combs, Director of Curatorial Affairs, Smithsonian National Portrait Gallery and co-curator of Regeneration: Black Cinema, 1898–1971 at the Academy Museum of Motion Pictures. (68 min.) Free with museum admission. 

This program is part of a companion series of film and music events presented in celebration of Regeneration: Black Cinema, 1898–1971, on view at the Detroit Institute of Arts Feb. 4–June 23, 2024. Regeneration is organized by the Academy Museum of Motion Pictures.  
 

Dr. Dom Flemons is a Chicago-based musician whose repertoire covers 100+ years of American Roots music. Flemons is a songwriter, multi-instrumentalist, music scholar, actor, slam poet, record collector, and the host and producer of American Songster Radio Show on WSM in Nashville. He is considered an expert on banjo, guitar, harmonica, jug, percussion, quills, fife, and rhythm bones.

Flemons will perform music from his Grammy-nominated album Traveling Wildfire, and a tribute to the music of Herb Jeffries, The Sensational Singing Cowboy from Detroit, who performed in all-Black musical westerns in the 1930s. Free with admission. 

After the concert there will be a free screening of Jeffries’ 1939 classic, Bronze Buckaroo.  

This program is part of a companion series of film and music events presented in celebration of Regeneration: Black Cinema, 1898–1971, on view at the Detroit Institute of Arts Feb. 4–June 23, 2024. Regeneration is organized by the Academy Museum of Motion Pictures.
 

Create a pencil drawing to take home while taking a closer look at the collection. No experience is necessary. All supplies provided. For ages 6 and up (children ages 12 and younger should be accompanied by an adult).

Create a pencil drawing to take home while taking a closer look at the collection. No experience is necessary. All supplies provided. For ages 6 and up (children ages 12 and younger should be accompanied by an adult).
 

Create a pencil drawing to take home while taking a closer look at the collection. No experience is necessary. All supplies provided. For ages 6 and up (children ages 12 and younger should be accompanied by an adult).
 

Create a pencil drawing to take home while taking a closer look at the collection. No experience is necessary. All supplies provided. For ages 6 and up (children ages 12 and younger should be accompanied by an adult).
 

Create a pencil drawing to take home while taking a closer look at the collection. No experience is necessary. All supplies provided. For ages 6 and up (children ages 12 and younger should be accompanied by an adult).
 

Join frame historian Tracy Gill, co-founder of New York’s Gill & Lagodich Fine Period Frames, who will discuss the evolution of frame styles over two centuries of American art. 

Drawing on examples from DIA’s collection, Gill will survey changing tastes from 17th-century painted frames and gilded hand-carved fancies to innovative 19th-century trends and opulent models from the Gilded Age. She will discuss the artist-designed frames on James Abbott McNeill Whistler’s Arrangement in Gray: Portrait of the Painter and the monumental landscapes of Frederic Church, as well as the elegant frames designed by architect Stanford White to house paintings owned by Detroit collector Charles Freer. Finally, Gill will explore the early 20th-century transition to handcraftsmanship, when American Impressionist painters were inspired to commission custom frames from Arts and Crafts artisans, and the progression to deceptively simple surrounds conceived by modernists such as Florine Stettheimer, Arthur Dove, and Georgia O’Keeffe, who pushed the boundaries of their canvases and rejected traditional gilded frames in favor of pared-down profiles finished in white, silver, and hand-painted or textured wood. 

Through this talk, attendees will join Gill in looking not just at the paintings, but the art around the art — the art of the frame. 

Special thanks to the Ida and Conrad H. Smith Fund.