Biba Bell rarely makes dances for traditional theatres. She prefers to work in the world (in the wild), in unique spaces that she gets to know, enlivens, and, in her words, “complicates” with dance.

Carter Manor (1973) was one of the “City Canvases”—an ambitious civic initiative that resulted in 12 large-scale wall paintings intended to help uplift downtown Cleveland’s struggling urban core.

2024 is the year I plunged into the so-called "new weird" fiction of Jeff VanderMeer, which resounds, clear and urgent, through the muffling fog of the present.

Happy Pride to everyone but especially these fab gay aliens—the “loverbirds” from planet Dirbanu in Theodore Sturgeon’s 1953 short story “The World Well Lost.”

Detroit's Stickwork sculpture hits all the right notes to make highly successful public art, or what might more meaningfully be described in this case as urban environmental art.

Of the experience of making his mural, John told me, “It was without question the biggest, most important, most public thing I had ever done.”

It's been eight days since the Detroit production of Bliss, the titanic performance installation staged by Michigan Opera Theatre in the ruins of the old Michigan Theatre, and here I am still bobbing along happily in its wake.

Henry Adams is lovable in that unlovable way—arch, ironic, removed (he writes about himself in the third person!), and self-deprecating to the very last sentence.

To María, librarians carried a responsibility to stand up and be counted, to infiltrate the halls of power armed with values, strategies, and resources that would advance the connectedness and wellbeing of common people.

As we settle into our new domestic routine, weathering the emotional turbulence that each week (and each new news item) brings, I observe my mind's eye returning, often, to the peace and stillness of Glacial.

An important dimension to community life in Lafayette Park is the fact that the population here has long been economically and racially mixed, a phenomenon that gets remarkably close to the real objectives of modernism.

We recently ventured to Midland, two hours north of Detroit, to tour the Alden B. Dow Home & Studio, and to Flint, where we visited Lawrence Halprin's Riverbank Park.

You're standing there, squinting into the horizon, hoping to catch a glimpse of the indistinct but telltale orange marquee lights that means a bus is coming, wondering — did I get it wrong?

Oh Detroit, what have we done to deserve Kathy Leisen?

The theme of "Common Time" is the dense network of creative collaborations and relationships that typified Merce Cunningham's practice—and that brought dance into fruitful contact with the wider art world.

I got to know David Rubello after I became obsessed with his 1973 mural Color Cubes, a piece of downtown public art I loved that was lost in 2014.

I was glad to have the opportunity to experience an innovative installation version of Merce Cunningham's 1968 dance RainForest recently.

When I first started thinking about my article on queer spaces in Detroit, I figured Robbie would have a perspective—and boy, did he!

Woman in E is about objectification and music, cinema and presence, glamour and artifice. It's about art history's long line of singular, sorrowful women, and about women's long history of being looked at.

Frank Stella spent the better part of the 1980s and '90s creating more than 135 abstract works, each titled after a particular chapter of Moby-Dick.