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December Art March: Observations from an Art March Virgin
  December 9th, 2013
By: Jordan Dotson, Staff Writer for the Savannah Art Informer

Until Friday night, I had never been to a First Friday Art March. I wasn't exactly sure what to expect. Would a self-proclaimed traditionalist like me fit in with this art scene? Or was it going to be a big hipster-fest that I wasn't cool enough to understand?
Beginning at Adam Gabriel Winnie's show, Figuring the Self, in the Desotorow Gallery, my fears proved unfounded. The show is composed of four large-scale charcoal drawings accompanied by six videos of Winnie doing performance art. The first thing that hits you is the photorealism of his drawings. It was such a relief to see naturalism in art again. Don't get me wrong - there is still enough conceptualism to preserve some mystery and engage the viewer to ask questions. As I stood there mulling over the meaning of his work, I jotted down "anxiety, frustration, insecurity" in the margin of my notepad.

Follow this Link to the original review on the SAI's site.

Figuring the Self: Conversations with Adam Gabriel Winnie
  December 5th, 2013
By: Kayla Goggin, Editor-in-chief for the Savannah Art Informer
In the days leading up to the opening of his new show Figuring the Self at Desotorow Gallery, Savannah artist Adam Winnie sat down with SAI Editor-in-chief Kayla Goggin in his home studio for a conversation about process, method, identity, the nature of violence, and the importance of experimentation.
[Adam and I began our conversation with a brief tour of the home he shares with his fiance, photographer Stacy Diehl, and a look at some of his recent and past works. We jumped right into a discussion of his choice in materials and techniques.]
Adam Winnie: My fiance Stacy has been teaching me a little bit of encaustic.
Kayla Goggin: Could you see yourself incorporating encaustic into your works?
AW: Maybe. I'm such a slow drawer and painter - that's why I work in oils when I do paint - encaustic just dries so quickly. The initial drawing or painting of things - I'm just really. I don't know if detailed is the word - I guess part of it is just really trying to hone in on the craft of it. I don't leave a lot to chance. I make sure there's a lot that's controlled in my work, as opposed to some artists whose works are all about leaving things to chance. I'm putting so much of my efforts into making these pieces that it's one of the few things that can be controlled. If I'm going to try to convey something specific then I think I need that control.
KG: Is this something you've always done? I've read some previous articles about you: I found an article from 2003 where you described your process a bit. Obviously that was a decade ago so there must have been some sort of transition for you. Have you always been so controlled or is that something that started to come out as your work matured?
AW: No, it's something that has come out the longer I've been working. Early on, before I really started working on technique, I was exploring more photography and sculpture works and things like that and those kind of transformed into these assemblage pieces. There was definitely a sense of craftsmanship to them but they were pretty rough around the edges. I wasn't as concerned with the craft as I was with the message. Now I'm focused on balancing the two.
KG: I think that's something a lot of artists struggle with, especially over time. I know the title of this show is Figuring the Self. Where did that title come from?
AW: Over the past 4 years I've been doing more - I wouldn't say self-portraiture - but I've been using my own figure a lot more in my works. It's something that's constantly recurring. I think I chose to do it like that for several reasons. In the beginning with photography, it was just that I was the one that was available and I was comfortable with doing the sort of things that it would be a hard time getting others to do. I was doing some really weird stuff.
KG: So it gave you the freedom to experiment.
AW: Yeah, yeah. So as I started creating bodies of work that would sustain for a long time, everything just started to fall into place with using myself in my works. I'm speaking about my experiences, a distillation of my life. I think I wrote in my statement, "I can't speak for somebody else, I can only speak for myself." Just because I'm in the work, doesn't necessarily mean the work is about me. I'm simply the carrier of the allegory.
KG: You're the conduit that this message is coming through.
AW: Yeah, I think there's a lot of universals in the human experience. Something I'm experiencing can be experienced by another person but not necessarily the experience itself - insight, fantasies, sensations, feelings can be transmitted through the work.
KG: Do you do much performance art? It seems like you've dabbled in everything.
AW: Not since coming down to Savannah. I was doing a lot more up in Michigan because there was more of an environment for it - there were more places that were open to more subversive, very raw, uninhibited performance. Some friends of mine owned a puppet theater and they loved my work so any time I wanted to do something they were game. I had a couple of performances in the basement studio I had in downtown Ann Arbor too. I was doing 5-6 performances a year at one point.
KG: Which, even for a performance artist, seems like it would be a lot.
AW: It was. It was a lot. Some stuff was planned out, some stuff wasn't. But since moving down to Savannah four and a half years ago I don't think I've done anything. It's crazy.
KG: You've just been focusing more on drawing and painting then?
AW: Yeah. It's tentative but I may be doing a performance during the Art March. If it's going to happen, it'll happen spontaneously, like without anybody knowing beforehand.
KG: Do you have any idea what you might do? Or is this totally organic?
AW: No, I need to spend some time in the space first. If I do decide to do something, I'll figure it out while I'm hanging the show. That's how I usually like to do it. I spend enough time in a space and things just come together. You'll see the videos I'm going to be showing all took place in the same 10×10 room.
KG: Where was that room?
AW: It was one of the unused grad studios in [SCAD's] Alexander Hall. The only things in the room when I went in were two pedestals. So that was all I used - a white pedestal and a black pedestal. It was a definite nod to Bruce Nauman. I love his work. It's absurd and it's nonsensical but it still has a lot that can be read into even if it's really simple.
KG: Yeah, I think his works have a lot of depth, despite the simplicity. Very sensual, some of them. Is he one of your main influences?
AW: I wouldn't say main influence, but he's somebody I've been watching for a long time and I admire his work and what he's bringing to the art world. There was another video artist - he's just started getting into video - Michaël Borremans. He's a figurative painter, but his paintings are very cinematic and his videos are very painterly. It's almost like a moving painting. There's usually not a lot of action happening, it's mostly just holding still so you can see those subtle movements and it just plays on a long loop. It's a video piece so it's not static but it's not really moving. What I liked about it is that it's a work that can exist both passively and actively on the wall. So I was kind of shooting for something like that. Something that you could watch but you don't have to watch because there's not a whole lot happening. You can watch for a moment or spend some time with it and discover some little differences and those are the little rewards.
KG: Do you find that idea translates to your two dimensional works as well?
AW: I think so. I try to give the paintings and drawings this aesthetic punch so-to-speak that can bring you into the piece and create an instant memory. But if you spend more time with the work you can be rewarded with other complexities within it, whether it's conceptual rigor or technique or what-have-you, I tried to put more into it than just that initial bang so to speak. I'm very suspect, unfortunately, of a lot of abstract artwork. While I've done a little in the past (semi-abstract but still a bit figurative) I couldn't ever see myself going in that direction. I'm drawn to the figure too much. There's much more that can be related with the figure and narratives than with an abstract artwork.
KG: I know you've said in the past that a lot of your works are about examining self identity, especially within - I think you phrased it "the current sociopolitical climate". Do you feel that an abstract work can't examine that in the same way that a figurative work can? How do you inject that idea into your figurative works?
AW: I think through the gestures and the interactions that the figure is involved within the images. That can carry those messages. But I think it's more relatable because you have a person in them. Now that I'm working with these charcoal drawings and in life size or larger than life size, I hope that that strengthens the relate-ability a bit more because you're seeing a person the same size as you, even if it's in these poses that you may not see yourself in. Even though it's become harder for me to draw on a large scale due to injuries I sustained from a motorcycle accident a few years ago, I seem to be making bigger and bigger works as time goes on. The piece [I'm currently working on] is going to be something like 15, 16 feet tall when it's done. I use a lot of negative space so there'll be a lot of negative space when it's done. With these large drawings the negative space plays a very big role. With something of this scale I'm giving the figure some breathing room. I'm drawn to the cinematic, I'm drawn to works that you can step into. It's about paring things down to the essentials.
KG: I definitely feel that with these works. From what I've seen of your previous works it seems like that negative space is ever increasing.
AW: Yeah, part of it is just paring things down to the essentials - so you can get right to the point but still be ambiguous at the same time. I think there's a lot of power behind mystery and I know it seems strange that I'm trying to be to-the-point but ambiguous, but it makes sense to me.
KG: It makes sense to me. Especially when you're talking about giving a figure room to breathe, and room for people to actually enter into and sit with the work.
AW: Yeah, and you can definitely see a narrative within the work. It's like the end of a second act or the beginning of the third act when things start to really happen. It's kind of like - it's right there and you don't know what led up to it and you don't know what's going to happen next. There's a sense of danger, there's a sense of losing control..
KG: Do you have a specific narrative laid out in your head as you work?
AW: I do. There's a lot of planning that goes into it, but I sometimes don't like to say a whole lot about a specific work until a show or until I get some decent feedback on it. I want to see if it's successful first.
KG: So does anything change for you after or during a show? When you actually see the piece in a space does that change the internal narrative that you have or is that completely set?
AW: By the time everything is up and hung, stuff is solidified. I stand back and I look at my works for just as much time as I do when I'm physically drawing. There's a lot of self reflection so I think by the time of the reception everything is ready to go. For some reason after a show there's always some depression that sets in because you work so hard towards this goal and then it happens and you have to have something else lined up or continue on with what you're doing.. I really like having goals to work towards. I like to have a show set up once or twice a year and work towards those - especially now that there's so much riding on it since this is what I'm doing full-time. Taking that step to being a full-time artist is really scary, there's a lot of uncertainty. But there's a time when you just have to take risks and I wouldn't be able to do what I do without [my fiance] Stacy.
KG: I'm really excited about the video work and the installation of that because that's not something I see a lot of in Savannah. I'd really like to see more -
AW: You'd think with the film school you'd see more but they're working more towards commercial stuff and not so much experimental stuff. I had done a little bit of video before coming to SCAD but it was more for documenting performances I was doing in public or there was one video piece of just me walking in a loop and I'd project that at shows.
KG: So you tend towards the minimal?
AW: With the video stuff, yeah. It wasn't until I had this Alt Media class with Todd Schroeder that I started looking at it as a means to an end. At first I was fumbling with it a little bit because I went into it not knowing what I was going to do with it yet and it took a little exploration before I decided I was going to continue on with my performance work and shoot the video as the finished piece. There's something a little more freeing about that, but there's an awkwardness to get over initially doing a performance by yourself. It's - I've done a lot of weird stuff and having an audience doesn't stop me. There's actually this feeling of seeing yourself from above while you're doing these things which allows you to do a lot more.. There's a lot more you can do than you think you can with an audience.
KG: This reminds me of Marina Abramovi? and how she feeds off the crowd. She says it's not possible for her to achieve what she wants to achieve without an audience watching.
AW:  I'm really drawn to her earlier stuff, a lot of the more violent works about using the body as the medium.. There's another group of artists the Viennese Actionists.. they go into the depths of depravity so you don't have to. It's a catharsis kind of thing. I was more drawn to the ideas behind [their works] than the works themselves, the conceptualization of what they were doing.
KG: I feel like to some degree violence figures into your work. Maybe not any explicit violence, but blood and themes of external threats to the human body come up a lot.
AW: Yeah, that's definitely there. Violence is inescapable and it's a lot of times the result of fear. Lord of the Flies refers to fear as "mankind's essential illness", so that's a recurrent theme in a lot of my works. Whether it's fear itself or violence or violent.. There is so much beauty out there and so much greatness to experience, but it seems like there's always going to be one person trying to take advantage of another person using whatever means they can. Whether that's something we're stuck with or something we grow out of as we evolve is beyond me but my work is a reflection of that. I'm definitely influenced by that.
KG: I think this goes back to what we were talking about earlier - issues of identity in the current sociopolitical climate.. [Violence] can become a part of your identity - how you react to it or how you perpetrate it depending on who you are.
AW: And you don't have to show extreme violence for the sake of extreme violence or for the sake of shock, I think that's another cop out too. It says something about the human psyche that movies like Saw are so popular. You don't have to go to those extremes.
KG: Is there anything you want people to consider in particular when they're attending the show Friday?
AW: I guess to take time digesting individual works. Try to spend time with them. I know openings can be crazy, but feel free to ask questions. I like talking about my work, I like when people are interested in my work, I like talking to other artists.

Follow this Link to the original interview on the SAI's site.

SCAD alum pays it forward with scholarship fund
  June 2nd, 2011
By: Kenneth Rosen, Staff Writer for SCAD District

The newly-founded Tiffani Taylor Painting Scholarship Fund will have its first exhibition show June 3 from 6 to 8 p.m. at Ruth’s Chris on Bay Street. The show features the work of Tiffani Taylor and the first recipient of the scholarship, Adam Winnie.

Winnie, a third-year painting major, applied for the Tiffani Taylor Painting Scholarship during fall quarter of last year .“There was a limited amount of scholarships tailored to painting majors,” Winnie said, “and I focused predominantly on hers.” Since it is one of few painting scholarships, it has high expectations. Candidates must be full-time, undergraduate painting majors with 90 credit hours before spring quarter and maintain a 3.8 GPA. Taylor has set the bar high for students, and she can relate having graduated from SCAD in 2003. When she attended SCAD, Taylor had a presidential scholarship. Taylor, who received her BFA in painting and MFA in art history, hoped to one day pay it forward. Her dream of supporting others through a fund would not have been possible without the support of her friends and patrons Dan Hirsh and Angella Rupelli. “They collected my artwork before I ever met them,” Taylor said. “I was assisting with the alumni scholarship and saw how much financial need there is.” Taylor then expressed her thoughts to Hirsh and Rupelli who donated the first $5,000 on the spot, contingent on the fund being in Taylor’s name. “[The fund] really originated through patronage of my art and dear friends who love art and want to give back,” Taylor said. Although Taylor doesn’t get to hand-select the students who receive her scholarship, she knew upon meeting Winnie, that he was the perfect candidate. “I saw the caliber of his work, and I immediately, organically, thought of my next art exhibit at Ruth’s Chris and exhibiting his art,” Taylor said. The scholarship and Taylor’s support came just as Winnie needed it most. “I was on my way to Alexander to work on a self-portrait for my materials and techniques class,” Winnie said. “I left my house on my small motorcycle and I got to about Barnard and 32nd Street when another vehicle pulled out in front of me.” The accident left Winnie in the hospital with a fractured collarbone, a fractured fibula, fractured ribs and a concussion. Before the accident, Winnie spent twelve to fourteen hours a day in his studio painting. Although Winnie is in recovery, he has not mustered the energy to paint.

Along with the featured artwork of Winnie and Taylor, a silent auction will be held to benefit the scholarship fund. The fund sits at $20,000, which Taylor hopes to increase with annual receptions and auctions like the one on June 3. “I just want to see the fund grow,” Taylor said. “I want to connect [recipients of the scholarship] with patrons. We all want to see our work on the wall.” Taylor arranged for an Artist Reception for her first Scholarship Recipient, Graduate, Mr. Adam Winnie, whose work includes large scale portraits, still lifes, and allegorical diptychs.

On Friday, June 3rd from 6-8pm Winnie and Taylor will be on-hand at Ruth's Chris to officially present his works and to host a silent auction of Taylor's work of which 100% of the proceeds will fund the scholarship. TheWine Cellar Showcase will feature an exhibition of Selected Works by 2011 SCAD Graduates in the Fine Arts by Tiffani Taylor. All exhibits will be on display at Ruth's Chris until July 15. "Adam is an incredible artist and I couldn't be prouder to be a par tof his educational journey," says Taylor. "I'm honored to call him a colleague." 

Follow this Link to the orignal story

Stage & Canvas: The Lamparski Question
  January 9th, 2008
By: Robert del Valle, Staff Writer for Real Detroit Weekly

What ever happened tho Adam Gabriel Winnie, the talented guy we mentioned here some time ago? He's been busy preparing a solo exhibition for the Pierpont Commons-Wall Gallery in Ann Arbor. A Homage: Portraits of Strange Influence is Winnie's personal expression of gratitude to those avant garde figures who have inspired him over the years. The honor list includes sucj note-worthies as Antonin Artaud, Georges bataille, Tristan Tzara and Alejandro Jodorowsky. The Show runs Jan. 11th tru the 31st at 2101 Bonisteel Blvd.


On Display: A Thank You in Portraiture
  January, 2008
By: Ryan Bunch, Staff Writer for Current Magazine

A new look at a classical story: Big bad wolf never looked so frightening to Little Red Riding Hood
  October 10th, 2008
By: Liz Jelinek, Staff Writer for the WCC Voice

Adam Winnie is a multi-faceted artist who is an expert in many mediums. But formats, this Washtenaw Community College student is a seeker of truth and knowledge that he strives to include in all his work.
"Art makes it possible for me to explore abstract ideas which can be created in three dimensions," he says. "Then I photograph my unusual creations and print them in the medium which best showcases my message."
Winnie is an artist who sees beauty in everything around him. "I love art. It saved my life and gave me a purpose," says Winnie, Who suffered from depression as a child. "Art allows me to communicate without words and it brought me out of my shell. I'm not good with words and art became my visual philosophy."
He sues many disciplines in his works, including performance art, photography, sound, sculpture, painting and installation art. To reach a wider audience, Winnie searched for a legend or folk-tale that had never been photographed in an effort to compile a book. He sought to create a manuscript that incorporated as many of his talents as possible. His Journey took him to the sewing rom of the 14th-century France, when the women daily spun yarn and made all the clothes for the people of the village.
For his book, he chose the grandmother's tale, a morality story about a young women who leaves the city and travels through the woods to visit her sick grandmother. Along the way, she meets a werewolf. The wolf challenges her to choose between the path of needles of pins, piglets et aiguilles. When she chooses the wrong path, the wolf races to the house and kills grandmother.
The wolf leaves a piece of grandmother for the young woman to eat as well as a jug of grandmother's blood for her to drink. Then he encourages her to take off each item of clothing and burn it in the fire and come to bed with him. In the bed, she's realizes he's a wolf and outsmarts him by going outside to relieve herself and escape.
If the story sounds somewhat familiar, it is. It's a more gruesome version of the children's favorite, "Little Red Riding Hood." The story was retold and first published by Charles Perrault in 1697 for the aristocrats in the Court of Louis XIV. Perrault was the first to adorn the young woman in the red cape. The Brothers Grimm made the story famous for modern audiences and first called the heroine Little Red Riding Hood when they published their version in 1812.
The details of the story change slightly with the mores of the times. Its origins probably date back to ancient China, but Winnie chose the earliest-known Western version of the folk-tale for his book. "Needles and Pins" is about the sexual coming-of-age of a young woman, Perrailt's version advises young women to beware of the advances of men, and the Brothers Grimm warns young girls of the perils of disobedience.
He picked the version of the story from the Middle Ages to illustrate how society and culture have changed. Ancient tales and legends were sanitized during the Victorian era and this early version is in stark contrast to the Little Red Riding Hood that we know today. Winnie brilliantly captures the harsh realism and brutality in his photographs.
He used five models for his pictures and made the wardrobes for each by hand. He wanted the pictures to be authentic replicas, so he spent a great deal of time and money researching the clothes worn at the time. It was important to Winnie that nothing looked modern, but instead was tattered and torn as the clothing of peasant women of the times.
He bought the wolf's mask and hands from a Halloween shop, the wolf's shirt was a child's horse costume that he took apart, then reconstructed into a shirt. Everything else he made by hand.
Winnie is not a great proponent of digital photography. "I feel you cannot get the same effects digitally as you can with film," says Winnie. "The skill required with a manual camera is much greater than that needed for digital photography."
Adam Winnie's reputation in the local art scene is growing rapidly. This sumer, he was given the honor of a booth in the "emerging artists" section of the Ann Arbor Street Fair. Recently, he was invited to present a juried show at the Pierpont Commons on the University of Michigan's north campus. This is the third time Winnie has been awarded such an honor.
The exhibition entitled, "Hell Follows the Pale Horse and Other Tales from a Dream," opened ct. 1st and runs through the 31st. It consists of a combination of large-scale posters, sculptures and photographs on glass.
Winnie graduated last spring from WCC with a degree in photography. He's back this fall studying welding to expand his skills as an artist. "I'm a determined person," he says. " I know what I want and I'll keep learning until I get there." Copies of his book, "Epigles et Aigulles," are available online for $20 a copy at www.lulu.com/adamwinnie

Night & Day: Bizarre Bazaar
  July 18th- 25th, 2007
By: Eve Doster, Staff Writer for the Metro Times

Had Duchamp not proudly displayed the R. Mutt urinal 90 years earlier, How might the bounds of artistic adventurousness have stretched? Not very, that's for certain. We'd never get to marvel at, say, a blood-drenched sofa and regar it as anything beyond, well ruined upholstry. Artists today, including Adam Winnie of the Atomic Art Cooperative of Ypsilanti, can push the limits of aesthetic perception with their work, which will certainly happen during the co-op's Bizarre Bizaar. Performance art by Winnie, entitled "Release and Transcend," will be featured along side electronica performences by Tunsten Ladies, Cinamon Classic, Brent Joseph and others. Starts at 6pm on July 20th at Dreamland Theater in Ypsilanti.

We decided to go with it
  April 19th- 25th, 2006
By: Robert del Valle, Staff Writer for Real Detroit Weekly

Adam Gabriel Winnie has a new and impressive art installation up in the Pierpont Common Wall Gallery at U of M. Deciding to Disappear: A Revelation of Insignificance is a compelling imaginative interpretation of emotional terains - espiciallt those terrains which we keep hidden or seem invisible to us. "We can pool information about esperiences, "Winnie explains, "but never the experiences themselves." It was his intention from the start to transform the intangibility og thought into a tangible visual presence. We belive he suceeded. You have until May 12th to judge for yourself. 2101 Bonisteel Blvd. in Ann Arbor.

Ongoing: A Prelude to Frail Minds and Flesh
  August 16th- 22nd, 2006
By: Eve Doster, Staff Writer for Metreo Times

Artist Adam Gabriel Winnie has a thing for digging deep. His latest exhibit is yet another exploration into the heavy themes and variations of the human psyche. Winnie says his latest photo installation "endeavors to disrobe our Napoleon complex and confront our vulnerability of mind and body." It plays out in 46 stages photographs of models in imaginary situations and environments. Bab's Underground Lounge, 213 S. Ashley St., Ann Arbor. Closing reception is 6-9 p.m. Thursday, Sept. 14th.

Like I Could Refuse Babs Anything
  August 30th- September 5th, 2006
By:Robert del Valle, Staff Writer for Real Detroit Weekly

The last time we mentioned Adam Gabriel Einnir in this column he was shaking up Ann Arbor with a low-key exhibit that everyone either saw or heard about. He's letting the art speak for itself again with an ongoing show entitled, A Prelude to Frail Minds & Flesh Winnie has meticulously shot more carefully staged photos of models in imaginary situations and environments. His intentions was to envision a surreal (yet intensily visceral) portrait of the subconscious through the use of extensive metaphors. This is the hidden territory that lies between external stimuli and what the mind processes from those stimuli - the forbidden attic that arcane scholarship sometimes hints at via symbol and poetry. Babs Underground Lounge is at 213 S. Ashley St. in Ann Arbor. The exhibit is up until September 16th.

The Many Arts of Natural Canvas: From eight-millimeter films to tattooing
  March 2005
By: Laura Bien, Staff writer for Ann Arbor Observer

Adam Winnie is a photographer and an art student who runs an art gallery in Ann Arbor and an artists' collective at Washtenaw Community College, but he thinks the most important thing he does in the art world is simply talk to other artists. "It's kind of wierd in Ann Arbor.", he says. "Yuo see a lot of the same artists hanging out together all the time. I think to really have an appreciation of art, you need to broaden your outlook, to talk to as many people as possible about what they're doinf and why they are doing it. The philosophy of art has been a big influence for me."

Given his outlook, it isn't surprising that when Winnie decided to open his own gallery with friend and tatoo artist Chad William Adamowskim he chose an offbeat location and an all-inclusive approach to booking shows. Natural Canvas Gallery and Studios, which the pair opened this winter in ontime McCoy's Market on North Main, is not just a gallery but also a reiki and message theraphy practice, body "modification" piercing studio, and tattoo parlor. All of them, to Winnie are expressions of art. So are the shows and events he books, including screenings of eight-millimeter and digital films; live music performences; showcases for sculpture, oils, photography, and textiles; performance art pieces; and lectures; poetry readingsand discussion groups. "We're just trying to keep it open to everything," he says.

The gallery's current show, Urban Decay Decor, revolves around the artists' view of their environment, as realised through photography, sculpture, painting, and even graffiti. Starting April 15th, the gallery will debut nationally recognized "pop noir" artist Jamie Roxx's fifteen newest works. Roxx's finely observed, incredibly detailed paintings, often mistaken for screen prints, combine images that include cinematic icons (Marilyn Monroe, for example) with references to music, advertising and popular products. His paintings hang in Munich;s Rockmuseum, Cleveland's Rock and Roll Hall of Fame and Museum, and Paris's Pompidou Center. *Please Note that Jamie Roxx is a SCAM ARTIST and neglected to show. The Ann Arbor show entitled Installed POP Aesthetics, will also feature two other installations, each in one of the gallery's seperate rooms. "These are three different works you would'nt see together," explains Winnie, "but I like the idea of having them in three different rooms in the same gallery, so they're together but seperate."

Winnie, twenty-three, grew up in New Boston, a town of about 1,300 south of Romulous. He says he's always, "Strayed from the mainstream,"mostly becaus it's of little interest to him. He moved to Ypsilanti a few years after high school graduation and then to Ann Arbor, Where he takes classes off an on at WCC and organizes the school's budding artists' collective. He also works at the Michigan Union and runs the gallery - all while continuing to produce his own work. " love staying busy," he says.

Night & Day: False Gods and the While Picket Fence Syndrome
  August 25-31, 2004
By: Eve Doster, Staff Writer for Metro Times

We here at Night and Day have had somewhat of a fascination with artist Adam Winnie. This socially conscientious dreamer - who abhors categorization and always offers up generous helping of something extraordinary - explains that is his works must be characterized, they can be described as "sculpture of a conceptually constructivist nature which embraces an almost neo-Dadaistic approach." You can say that again! (Or can you?) At Dreamland Theater (44 E. Cross St., Ypsilanti) Call***_**** for more information. Reception will be from 7-11p.m. Aug 29. Ends Sept. 19.

Night & Day
  January 7-13, 2004
By:Eve Doster, Staff Writer for Metro Times

Two Man Show - In the ever-changing relm of modern photography, the bells and whistles that are now available can change what was once a hands-on process into technological nightmare. Artists Adam gabriel Winnie and Christopher Pierce have resisted the enticements of digital photography and computer enchancement, opting instead for old-fashoned exploration of the art behind picture-taking. Using handheld cameras and developing processes that range from silk screens to a little ol' thing called chromoskedasic psudo-solarization )say that ten times fast), the everchanging relationship between the medium and the man is documented. Interesting. At Dreamland Theater (44 E. Cross St., Ypsilanti).

D-Days: Say Cheese
  January 7-13, 2004
By: Staff Writer for Deal Detroit Weekly

If technology has become the foundation of modernity, it's also, inevitably, become the undoinf of tradition, and it's most obviuos in the arts and crafts.

With What: Two Man Show at Ypsilanti's Dreamland Theater, artists Adam Gabriel Winnie and Chrisopher Pierce forego recent technological advancements within a medium that's grown particulary dependent on them: Photography.

The two don't collaborate, but their aesthetics are complimentary and they both appear fascinated by the creative license of a hand-on process. Winnie's black-and-white photographs are thematically and technically atavistic; he works in traditional (non-digital) camera and developing techniques to integrate man and nature into a single, synergetic plane. It's a fantastical concept, with some roots in the fundamental fantasy of photography, as a device to ostensibly substantiate illusion.

Pierce, who uses a limited range of colors in his pieces, conbines photography with screen-printing. The process is even more primitive here: photographic emulsion is a think, green goo that looks more like a science experiment than a technical tool, and the darkroom is simply a dark room. Yet the finished product manifests something that contemporary photography rarely can: the human presence. Ultimately, the work is about the same obsessive craftmanship that deters every fine artist from submitting to the quick fix.

What: Two Man Show runs through January 31.

WCC Gallery Group wins approval: Hard working students prevail despite administrative difficulty.
  March 22, 2004
By: Jeremy Lapham, Staff Writer WCC's The Voice

After several meetings and a bit of convincing, the Washtenaw Gallery group has been officially approved by the vice president of student services Cal Williams. WGG's long tern vision incoprorates developing a working, student run gallery on campus in addition to workshops, artist lectures, community outreach, collaborative art exhibits off campus at other galleries and collaborations with WofM and EMU. "the whole purpose of the group is to extend the opportunities that students have to show work in a gallery setting, in addition to creating an environment conducive to interdepartment communication," says Adam Winnie, founder of WGG.

After WGG's approval, an appointment with Heather Byrne, director of student activities, was made in order to schedule a room for weekly meetings and find out about setting up a website. The WGG now has a room reserved for weekly meetings.

The meetings will be held weekly in the TI building room 222 every tuesday at 6pm. They are still looking for persons experienced in creating web pages. Interested individuals are encourages to contact Adam Winnie, president of the group, and/or attend the meetings on Tuesdays. For this group to be a success, student envolvement is essential.

The WGG has faced an uphill battle in terms of gettign approval for their project because of "The adinistration considering what we were doing to be conflict of interest with Gallery One already beign here, point one was that Gallery One does not even regularly exhibit student work," says Winnie. So they redafted their group's mission statement before finally obtaining approval. They have received no funding from Student Activities to adte. According to Heather Byrne, this is because they have not filled out the appropriate paperwork.

"I would love to have a [student] gallery on campus, but as it is there is no room or resources to run a student gallery," said Byrne. "Who will run [the gallery], watch the art, and pay for the space? This is a great idea but it's just not feasible."

Despite feeling that is has faced administrative opposition, the Washtenaw Gallery Group is proud to inform the student body that they have organized a student art exhibition at Gallery 555 in Ypsilanti and are now accepting submissions.

The exhibit will run from April 12th - 25th with the reception on Thursday the 15th from 7:00-11:00p.m. The submission deadline is April 5th (no exceptions0. There will be no entry fee for submissions but please limit the numbers of entries to four until further notice, also please include your name, medium, dimensions, email and phone number along with your entry. WGG will be acceptinf works from all disciplines. The following formats will be acceptable for submissions:
*CD's Mac Formatted Please

If you do not have a copy of your work bring it to the next WGG meeting abd they will take a digital picture of it for you. Additionally, submissions can be dropped off at the Washtenaw Gallery Group's mailbox located in the Student Activities Office, SC building room 112. If this is'nt possible, again jsut bring your entry to the next meeting. This will possible be a juried exhibit wit prizes. More information coming soon.

Calling all Artists: "Do You Want a Student Run Gallery at WCC?"
  January 7-13, 2004
By: Jeremy Lapham, Staff Writer for WCC's The Voice

perhaps you have noticed these words in hand scrawled blue ink , across the top of petitions currently circulating around campus. This "call to arms" is evidence of a growing arts initiative that is beginning to emerge on WCC campus. WCC photography student, Adam Winnie, is facilitating this initiative.

"Ideally I want a venue of sorts to formally display student and faculty work of all mediums, even stuff that is not taught here," said Winnie.

Winnie wishes to form a student group called Washtenaw Gallery Group, in hopes of being able to procure gallery space and funding for a student run art gallery.

"This is exactly the kind of venue that students need to transfer to a four year school. It could also serve as a means of getting "scouts" from these institutions to check out perspective students , as well as getting more students to come to WCC," Says Winnie. And he is not alone , in one week that his fliers have circulated he has recieved of 40 responses.

Those familiar with the prospect of student run galleries with two year institutions, have declared "inexperienced students," as their reasoning for the absence of such accommodations. Winnie has this retort to their decries "No matter how long [a student studied] does not have anythign to do with whether their works are displayed or not. In fact many great artists have had no formal traning at all."

Winnies ambition is seemingly endless when it comes to the arts." In the future I would like to see workshops, speakers, and panel discussions," he states.

Winnie has joined forces with "Intermedia Gallery" at Eastern Michigan University; a student run gallery since 1977, as he is interested in increasing collaboration between area schools. Whereas an EMU student may feature at at WCC and Vice Versa.

Students and faculty who are interested in collaborating with Winnie ca Join the Washtenaw Gallery Group, by signing one of the petitions being circulated around campus or by contacting Adam Winnie by e-mail at: ***********

D-Days: Say Cheese
  July 7, 2003
By: Eve Doster Staff Writer for Metro Times

Adam Winnie doesn't have a television. He does, however, have a coffeemaker — good thing, because he needs it.
While many 21-year-olds are still in bed, trying to sleep off last night's party and cursing the pounding footsteps outside, Winnie is at work. It's a beautiful Saturday morning and this baby-faced guy is taking a short break from his job as a custodian at the University of Michigan.
"I tried going to college, but it just wasn't for me."
But the term "drop-out" just doesn't suit this kid. On the campus of one of the most prestigious universities in the Midwest, the world of academia seems a million miles away. This unimpressed worker wants to talk about art:
"My mission (if I have one) as an artist is to make things a little more random," says Winnie. He's a sweet guy, terminally polite, and possesses the slightest hint of bashfulness. His alabaster face is pierced by a lip ring and his head is capped by the sort of dreadlocks that only a straight-haired person could grow. Winnie creates art for what he believes are cathartic reasons — he makes no bones about the importance of creativity in his life, but his works are as deliberate as they are an extension of his whimsical side.
"I sometimes don't even finish my pieces," he says, and when asked why, adds, "Maybe it's exhaustion, maybe it's boredom … society always forces things to be 'finished' and I am trying to get around that."
The standard art-conversation cringe begins to set in. How many regurgitated art history 101 lessons have disguised themselves as dialogues about art? How many glasses of syrah were consumed before the world realized that half of the crap that burgeoning artists and critics say about art is complete and utter hyperbole?
But, thankfully, there's an honesty to Winnie that reassures us that this is not another one of those lofty conversations. He's celebrating his very first official art opening at the Dreamland Theater in Ypsilanti and his nervousness is endearing.
"Many of the galleries are a little bourgeois," he says when asked about going to shows at other venues. His use of the word "bourgeois" is delightful; I wonder how many years ago it was that the young man learned the meaning of what many would consider the poor man's "open sesame" into the world of subculture. I can't help but anticipate more naiveté. But almost immediately, Winnie begins to show a heartfelt side. He explains that he thinks that he can "find some order in the chaos" and "vice versa."
His pieces use a lot of repeating shapes and color schemes, and while Winnie assembles his works as a disconnect with the real world, there's an obvious gravity to them.
"It always starts with a base," he says.
One can't help but be intrigued — knowing that Winnie insists on a base, but from there creates randomness, the dichotomy fascinates. As he moves from photography to photograms to mixed media and sculpture, some might say that he lacks focus and, hell, maybe he does … but isn't that one of the appeals of youth? It certainly is one of the appeals of his artwork.
Shouldn't all 21-year-olds still be figuring out who they are? Winnie's attitude is nothing if not refreshing — and it gives his viewers no prescribed idea of what the future holds for this young Dada enthusiast.
Sometimes it's just nice to behold the guy on the block who killed his television, revels in a good cup of joe and takes time to think things over. Sometimes that's all you need.
An exhibition of Adam Winnie's works opens at the Dreamland Theater (44 E. Cross St., Ypsilanti) on Sunday, July 20 at 8 p.m. Call 734-657-2337 for information. Live music will be provided by Patrick Elkins and Rootstand.
Eve Doster is the listings editor of Metro Times.

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