.: The Fisher Building

Monday, April 21, 2008

The Fisher Building

The Fisher Building (1928) is an ornate skyscraper in the New Center area of Detroit, Michigan constructed of limestone, granite, and marble. Its roof was once adorned in gold which was removed for the air raid black outs during World War II. It was designated a National Historic Landmark on June 29, 1989, has been nicknamed Detroit's largest art object. Standing on the corner of West Grand Boulevard and Second Avenue in Detroit, Michigan, the Art Deco skyscraper lies in the heart of the New Center area of Detroit. The 30-story office building was designed by Albert Kahn and Associates with Joseph Nathaniel French as chief architect. The building was to house the automotive company Fisher Body of the Fisher brothers (Frederick, Charles, William, Lawrence, Edward, Alfred and Howard), and is widely considered Kahn's greatest achievement. The year of its construction, the Fisher building was honored by the Architectural League of New York as the year's most beautiful commercial structure. The opulent three-storybarrel vaulted lobby is constructed with 40 different kinds of marble, decorated by Hungarian artist Géza Maróti, and is highly regarded by architects.

(The side story...I'm headed back to the train from my weekend visit to Detroit and I make a pit stop to PURE DEtROIT in the Fisher Building to replenish my Detroit gear... a sign on the door says back in five min... so as I waited camera in hand I took a moment to appreciate the vaulted ceilings that make up this grand old building!)

Initially, Kahn planned for a complex of three buildings, with two 30-story structures flanking a third tower twice that height. However, the Great Depression kept the project at one tower.The Fisher brothers constructed the building across from the General Motors Building (Now Cadillac Place). General Motors had recently purchased the Fisher Body Company. The two massive buildings spurred the development of a New Center for the city, a business district north of its downtown area. The top of the building was gold gilt and topped with a radio antenna. One of the building's oldest tenants is radio station WJR, whose broadcasters often mention that their signals are broadcast "from the golden tower of the Fisher Building." Two other radio stations, WDVD-FM and WDRQ-FM, also broadcast from the building. On St. Patrick's Day, the golden tower is lit up with green light to celebrate the holiday instead of the traditional orange color. In recent years, to celebrate the NHL playoffs, the tower is lit with red light in honor of the Detroit Red Wings. The building also is home to the Fisher Theatre, one of Detroit's oldest live theatre venues. The theater originally featured a lavish Aztec-themed interior in the Mayan Revival style, and once had Mexican-Indian art and banana trees and live macaws that its patrons could feed. After the Depression, the theater operated primarily as a movie house until 1961. Originally with 3,500 seats, the interior was renovated with a 2,089-seat theater that allowed for more spacious seating for patrons. The decor was changed to a more simple mid-century design (which some feel is now far more "dated" in appearance than the grandiose art deco foyer). The Fisher Theatre is owned and operated by the Nederlander Organization and now primarily features traveling productions of Broadway shows.
Note: All images and text (not specified) is copyrighted by Christopher Cushman. This site does not specify or denote the sexual orientation of any model and as such please post your comments accordingly.

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The Dance Through Life Project

Photograph project dedicated to capture the Art of Dance within the parameters of everyday life. The project hopes to capture the innate relationships between dance and everyday life. Images of dance performed in non-traditional locales hopefully demystifying dance as being inaccessible and drawing the obvious metaphor that while all can not express life with such movement and physicality, we all love with our own signature grace. Therefore we all dance.

Order your copy today by clicking on the books above!

Through New Eyes: The Photography of Christopher Cushman by Rinaldo Walcott

The Black male body remains an enigma despite its over representation in the public sphere. The dominance of hip hop culture globally, driven in part, but not exclusively by the innovative sounds of rap music have made Black men a standard by which Black men and other men judge themselves in contemporary culture. However, there is a paradox, because despite the prevalence of hip-hop’s popular global impact, Black men are also still some of the most despised men in Western culture. Stereotypes of criminality, disease and danger still abound and organize Black men’s lives, even within hip hop culture. Thus representations of Black men tend to be much more restricted, than open-ended. The struggle to bring Black men into complex open-ended representations has been an on-going historical struggle. One of the most potent forms of representation in the last one hundred and fifty years has been the photograph. Photography has offered the promise to represent the real in a manner that has both seduce its viewers and baffled them with its artifice. Black male photographic representations in the last half of the twentieth century and into the twenty-first have promised to rescue Black men from the confines of mis-representation and stereotype. One of the most difficult and complicated circumstances of Black male representations has been in the realm of representing their sexuality. Black men’s sexuality is still over-burdened by a perceived threat and danger, especially now in the hyped-up era of the downlow. Then along comes Cushman. I first hear of Christopher Cushman’s photography from my boyfriend. He told me of a guy who was taking photographs of black nudes based upon how they wanted themselves to be seen, not how he posed them as his models. When I met Cushman he confirmed that he did indeed work from the models’ suggested posed and not impose his own. The idea is a great one because it allows the models agency in choosing what they believe to be an adequate representation of who they are. While it is now true that in contemporary culture subjects have learned to play for the camera, offering us artifice on command, this artifice can be understood as exposing inner senses of self and being. Cushman’s photography captures and reveals those inner desires. Look at me, many of the models seems to say. But look at me anew, is also what they seem to project and insist on. Cushman’s eye lavishes these Black male bodies with glimmers of light revealing their nuance personalities. While most of the men are naked their individuality comes clearly through. And yet, their eyes too reveal that they belong to a community, a family and possess desires, fantasies and needs. In these photographs, as viewers we are given new eyes to see beyond our inner voyeur. Cushman channels, Robert Mapplethorpe, Rotimi Fani-Kayode and many other artists, commercial and amateur photographers who seek to rescue the Black male body from the disastrous depths of mis-representation, and who almost always fall short. The conversations that his models create between his work and others whether unconscious or not reveal the profound influence of the image in our time. However, in Cushman’s eyes the Black male body is not being rescued, instead it stands on a self-made pedestal, not arrogantly announcing its existence but coolly (its signature) singing its own praisesong as swathes of light and behind the camera love washes over it. In each moment a small but significant revelation is made. Each revelation offers us the opportunity of an Epiphany – to think a thought about a Black man that we have not thought before. Professor Rinaldo Walcott is a cultural critic and Canada Research Chair of Social Justice and Cultural Studies at the University of Toronto. He lives and writes in Toronto.

FIERCE! Being Black, Being Gay in America

"What Chris has done with this important collection of images, Fierce: Being Black, Being Gay in America, A Photographic Essay, is to seek, lift, and affirm the identity and visibility of men-who love-men and express it in many ways. His photographs display Midwest American men from the outlandish and flamboyant, to the subdued and subtle. You’d think these were “ladies who lunch;” muscular men dressed for the “Park” in lace, and floppy hats to give effect for all to see. Brothers connecting in places we know are safe, such as our nightclubs, the discos, and special events targeting our interests.

The importance of Fierce is paramount: all men are created equal, and share a space on earth. These portraits of men have to be recognized as God’s beauty and not His damnation. Time will thank those who were strong and dared enough to express themselves for all to see and appreciate in a manner that’s loving and creative. Time will also thank us for not living in a paranoid state of mind, and afraid of our own shadows. Remember, this cluster of work isn’t Robert Mappelthope’s approach to black imagery, but the approach of documenting men as they wanted to be seen: with and without sexual stimulation, for shock value."

Curtis A. Lipscomb
Executive Director Kick – The Agency for L-G-B-T African-Americans
Detroit Michigan / 2005
www.e-kick.com