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The Virtual Motor City consists of more than 800,000 specially selected glass and nitrate, acetate and polyester film-based negatives, from the late 19th century to 1980. AIt is an IMLS sponsored digitization project, carried out by the Wayne State University Library System and the Walter P. Reuther Library. The digitized images in the project represent a small subset of the Detroit News Collection, one of the premier photojournalistic resources freely available from a national-level newspaper and held at the Reuther Library. As a part of the Virtual Motor City project a number of 1920's Detroit News Newsreels have been digitized. Over 400 are available for browsing online through the VMC.
WSU's art collection includes close to 6,000 works of art. The work of regional and Michigan artists from the mid to late twentieth century form the core of the collection, including a large number of pieces by Detroit's Cass Corridor artists.
James Chatelain is an artist and former employee of the Detroit Institute of the Arts. He is the author of 'GUTS, Detroit in the 80s'. He discusses his experiences in the Cass Corridor art scene in the 1960's and 1970's.
John Egner is an artist, former painting professor at Wayne State University and a key figure in the Cass Corridor art scene. He discusses discusses his life, how he came to Detroit, and the Detroit art scene in the 1960's and 1970's.
Susanne Hilberry was assistant to Sam Wagstaff, curator of contemporary art at the Detroit Institute of the Arts from 1968-1971. Hilberry, owner of the Susanne Hilberry Gallery in Ferndale, Mi., discusses her education, her work with Sam Wagstaff, and the artists of the Cass Corridor.
Kathryn Brackett Luchs is a multimedia artist. In 2002, with Shaun Bangert, she created the documentary film, 'Images from Detroit's Cass Corridor'. She talks about her life growing up in Detroit and her work as an artist.
Marsha Miro was born in Detroit, Mi. She was the art critic for the Detroit Free Press from 1974-1995 and is one of the founders of the Museum of Contemporary Art Detroit (MOCAD). She discusses her education and her work as an art critic in Detroit during the rise of the Cass Corridor artists.
Nancy Mitchnick is an artist from Detroit, Mi. who participated in a solo exhibition at the Willis Gallery in 1973. Mitchnick is associated with Detroit's Cass Corridor and has taught painting at WSU, Bard College, CalArts and Harvard. She talks about her life in Detroit, her childhood, and her work as an artist.
Dennis Nawrocki has been a faculty member at CCS, Wayne State University, and the School of the Art Institute of Chicago, from the mid-1970s until the present. He wrote extensively about the Cass Corridor artists movement in Detroit. Nawrocki is the author of 'Art in Detroit Public Places'.
Mary Preston is a Michigan artist and former art gallery owner/director of Feigenson/Preston Gallery. She talks about her life growing up, her life as an artist in Detroit, her relationships with other Detroit artists, and Detroit gallery owner, Jackie Feigenson.
Allen Schaerges is a Detroit attorney, community organizer, art collector and promoter of the 'Dally in the Alley' festivals in Detroit's Cass Corridor. He discusses his life growing up and his involvement with Cass Corridor artists as a collector and friend.
Mary Ann Wilkinson worked as a curator at the Detroit Institute of Arts from 1981 to 2009. She contributed an essay for the exhibition catalogue 'Up From the Streets: Detroit Art from the Duffy Warehouse Collection".
With "Artists Take on Detroit: Projects for the Tricentennial," the Detroit Institute of Arts continues its celebration of the city’s three-hundredth anniversary. For this project, the museum invited a number of artists to create installations that "take on" a challenging subject: the large and diverse city of Detroit. The artists selected use a wide variety of media including sculpture, painting, dance, and video, to explore aspects of the city’s geography and history, its natural grandeur, and its industrial achievement.
Given the nature of these projects, rather than the traditional publication, we have opted to produce a Web-based catalogue, the flexibility of which matches the open-ended nature of the works on view and allows us to convey more than the visual aspects of selected works.