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Victoria Villasana is a Mexican textile artist. She works with color, patterns, and  geometry.
-Ms. Young

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Detroit Center of Contemporary Photography has highlighted four school's (CCS, Towson, MICA, and Wayne State) photography departments for an online version of a senior exhibition. Click on each school name to see the highlighted senior projects.

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Ten years ago, DCCP was founded in the hope of serving as a gallery for emerging photographers in the Detroit area. Since then, much has changed-we no longer have a physical gallery space and operate solely online and in printed publications. We cater to a much broader audience of photographers and photography enthusiasts as we promote work from around the globe. Our own team, still made up of working artists, are scattered across the US. Despite the plethora of changes of location and organizational structure, our mission has never wavered: DCCP works to support and promote emerging photographers and serves as a stepping stone for many on the path to their artistic and professional goals.

Of course, we are all in the midst of great change as Covid-19 forces individuals, schools, and organizations to reevaluate daily practices. In light of these changes, DCCP reached out to a number of schools in Michigan and Maryland and offered to showcase the thesis work of graduating photography seniors. Their portfolios, highlighted here bring us great pleasure-their work is diverse, engaging, and a sign of the things to come from this next generation of artists and photographers.

We hope you'll take the time to follow along with them during their weekly takeovers on Instagram (@detroitccp) and spend some time with the showcases, getting to know the students, their advising faculty, and the great work of these programs.

Click the school icons below to enter each gallery.

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Ten years ago, DCCP was founded in the hope of serving as a gallery for emerging photographers in the Detroit area. Since then, much has changed-we no longer have a physical gallery space and operate solely online and in printed publications.

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Sha'an d'Anthes is an Australian illustrator, artist, and author that goes under the name furrylittlepeach. I found her through the artist ByBun on Youtube and instantly loved the life her images have. She creates such lush and interesting works.

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Online portfolio and webspace of Furry Little Peach - Designer, Illustrator and Exhibiting Artist - living and working in Sydney, Australia.

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His work is very ethereal. One of the things that he is most well known for is how he chooses to display his work in galleries. The juxtaposition of intimate small images next to giant ones was different at the time, but a lot of people imitate this style now.

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I keep this very updated and often go back to it. It's related to my MFA project, but my mind is kind of all over the place, as you can see.

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Her work is really interesting - I think it's important to look at how she installs the work. Every single part of her gallery installation is thought through.

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2018
C-type prints, inkjet prints on acrylic, vinyl, concrete, clay, wood

Commissioned by Contact Photography Festival, Toront o

The 21st century has seen a dramatic shift in the way that architecture is experienced. Advancements in technology have enabled architectural representation to visualize the built environment through the lens of the virtual, generating digital renderings that depict both proposed and already-built structures as future projections. Arcades considers how this camera-less mode of representing architecture implies a virtual archaeology, as existing buildings are reimagined through image-generating software. Vistas of new cityscapes appear to excavate the past in order to renew the present, and our experience of architecture in the physical realm becomes shadowed by such images. This project considers the timescale at play, where capital is held in the virtual depiction of space rather than the physical structure itself, and where properties are bought and sold based solely on their digital representations.

Arcades expands on these notions and focuses on the materials themselves through the actual construction of an imagined archaeological site. Rather than the surfaces traditionally associated with ruins and excavation sites, the structure is clean and sleek, much like the historical buildings that are reconceived as new urban developments. The individual components of Arcades are titled numerically, as if catalogued from a single excavation. The installation speaks to the architecture left behind in a period of vast urban growth as a result of both growing technologies and declining industries, and considers the urban homogenization that propels the construction of contemporary cities, paying close attention to the generic materials and motifs used to advertise future sites.

POST PRODUCTION
2018
Site specific billboard, Toronto
Post Production collages architectural renderings and photographs of Toronto's skyline. The layers of images reference the methods that are used to imagine new buildings, and the tendency to build on top of industrial properties whose original function is now obsolete. As a large-format mural positioned on the façade of a heritage building that has housed many different functions over the years, this work creates a dialogue with the surrounding developments, employing their visualisation aesthetics to collapse and confuse the space between the real and the virtual. Simulated landscapes and vistas of new developments dominate the city scape, providing a window into the digital realm-not to be confused with the physical reality that it points toward.

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2018 C-type prints, inkjet prints on acrylic, vinyl, concrete, clay, wood Commissioned by Contact Photography Festival, Toront o The 21st century has seen a dramatic shift in the way that architecture is experienced. Advancements in technology have enabled architectural representation to visualize the built environment through the lens of the virtual, generating digital renderings that depict both proposed and already-built structures as future projections.

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One of the most incredible printmakers and woman foremost street artists known.

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Medea was originally created for Curry's mid-career retrospective, The Canyon, at CAC: Cincinnati (2017). It has been exhibited in the group exhibition Catastrophe and the Power of Art at the Mori Art Museum, Tokyo, Japan (2018) and in her solo exhibition Seven Contemplations at the Albright-Knox Foundation (2020).

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She's a combination photo transfer artist and painter. Her work has been at the Library Street Collective in Detroit.

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Mostly vintage cars bottleneck in two narrow lanes on a bustling, festive commercial strip where business appears to be booming as wildly diverse symbols of consumerism spill into the street. A colorful explosion of flags, Mexican crafts, Chinese lanterns, discarded artwork, plush toys, a clown, a clock and myriad business signs compose a seemingly cheerful landscape.

Look closer and see where the mundane mixes with innuendo and inference. "LIQUORS COFFEE TEA OR ME," punctuated with two seductive eyes, offers one sign. Machismo bullies its way into the canvas with the message "A WOMAN'S PLACE IS IN THE MALL" slapped like a sticker onto one of the larger signs.

After The Rapture (Border Town) (2019), an immense 96-inch-by-144-inch acrylic, spray paint, photo transfer, oil and enamel on canvas by Rosson Crow is created through a process as complicated and varied as its subject matter.

Inspired by a bumper sticker she found at a vintage shop somewhere in the West that reads, "In case of rapture this car will be unmanned," Crow creates a fictional landscape that's steeped in the reality of today's sociopolitical chaos.

"Everyone has been raptured, to heaven or hell. Who knows? All that is left is of a lot of our stuff," Crow said yesterday, as 11 of her immersive panorama paintings were being installed at The Hole on Manhattan's once gritty and now shiny Bowery. Trust Fall, her first major solo show in New York since Bowery Boys at nearby Deitch Projects a decade ago, opens today and is on view through December 29.

Rosson Crow
Rose Eichenbaum (Courtesy of the artist and The Hole)

Raised in Dallas, Crow moved to New York City in 2000 and is now based in Los Angeles. She enjoys reliving childhood road trips in her Toyota Tacoma Texas edition, finding inspiration for her work largely from the landscapes of the desert Southwest. These new works shift from interiors influenced by Baroque and Rococo interior design, cowboy culture, Las Vegas architecture, theatre and music to American landscapes that borrow from decades past to depict the absurdity of our current collapse.

Shifting from pure nostalgia, Crow says she transitioned to depicting the present-day landscape "because before we looked to the past, and now I think the time we're living in is interesting."

"The show is called Trust Fall because it's really about the loss of trust in the sociopolitical society that we're living in and how we can't have faith in institutions that we have had faith in for lifetimes," said Crow. "Facts are real. Everything is questioned. We have conspiracy theorists in the White House."

Working on one or two canvases at a time, Crow spent about five weeks on each painting in the exhibition.

"I start with a collage using a bunch of different references making up the whole world," she explained. "I start with acrylic washes and spray paint for the underpainting, add the photo transfer, and then the oil and enamel."

Crow dabbles in abstraction with KonMari (2019), inspired by the method of bestselling Japanese tidying expert Marie Kondo. Patterns from Crow's own closet play into this mesmerizing array of cultural references that compose a canvas and a message that's anything but tidy.

"It's all of these clothes we buy and fast fashion and things that just end up in a landfill in a year," said Crow.

Bold brushstrokes lend to the abstraction of KonMari. Crow saidshe adds more oil to her oil paint "so it's more transparent and more loose."

"I like them to feel imperfect," she said of her landscapes.

Greek and Roman mythology and culture collide with American consumerism in Offering to the Gods (2019). American flags sag, planted amid the tangle of fruit, vases and plush toys in an eruption of vivid color.

"I've been reading a lot of Greek mythology," said Crow. "I'm fascinated by the idea that in the future we could be worshipping completely different gods."

Balloons and American flags float above the vibrant expanse of Putt Putt Golf Course on White Sands Missile Range (2019), a carnival-inspired revision of the U.S. Department of Defense's largest, fully-instrumented, open-air range located in New Mexico.

"It's a celebration of American military might mixed with a sinister quality," said Crow. "They don't have a golf course, but it's not that much of stretch, because families live there and they do have a bowling alley."

Nothing is as it first appears with Crow's colossal canvases where the dazzle disguises the dire dialogue, so allow yourself plenty of time to indulge in every inch of these intriguing, intricate works.

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Rosson Crow's Landscapes Burst With Bold Colors That Bury A Sinister Reality

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Rosson Crow's new immersive panorama paintings are on view at The Hole on Manhattan's once gritty and now shiny Bowery. Trust Fall, her first major solo show in New York since Bowery Boys at nearby Deitch Projects a decade ago, is open through December 29.