The New Studios
Over the years, much discussion had taken place over the need for additional space for the Academy and Museum. Various plans and schemes were proposed to create spaces appropriate for the changing nature and needs of the disciplines and departments. Documents of the discussions are a matter of record, lost in the archives and minutes of endless meetings. The process was lengthy and laborious; here I will deal with the conclusion and celebration.
The dedication of the new studios occurred in September, 2002. Agnes and I were invited to participate; we had been present at the ground breaking a few years earlier. The architect was Rafael Moneo. I met Moneo on his first visit to Cranbrook; I was President of the Academy. I had been impressed by his architecture and was even more impressed by the man. Rafael is a soft spoken and sensitive person; his architecture is visionary. We walked around the grounds and I shared my irrepressible enthusiasm for the architecture of Eliel Saarinen. I showed him Saarinen House. I was delighted that he was chosen to be architect for the new studios.
Early that dedication morning, Agnes and I went to see the new studios for the first time. The exterior was impressive; the architecture being “factory like, flexible and functional”. These were the words that I used in that first meeting with Moneo, years earlier. Inside the building were open studios and generous spaces and, by happenstance, the architect himself. He came over to us, grasped my hand, and, with sincerity and intensity, asked “Roy, is it alright?” Overwhelmed, I answered, “Rafael, this is a dream come true”. We embraced warmly, knowing that our initial conversation about the studios had become reality; the studios were built. Later, in his remarks, I was the first person that he acknowledged; I was deeply touched.
The dedication program stated “The 35,000 square foot New Studios Building is connected to the Art Museum’s south wing, a conscious decision on Moneo’s part to extend the linear progression of Eliel Saarinen’s building.” The writings describe the studios, workshops, galleries, lobby, lounge, exhibition spaces. In addition to the new studios for ceramics, fiber and metal, there was overall reorganization and renovation of other facilities and departments throughout the Academy. A new Media Lab was created; in all this much of the original Arts and Crafts interiors were restored.
I remember our impressions that morning as Agnes and I walked through the studios, renovated and new. We were delighted with what we saw and with our meeting with Moneo. The new studios were impressive in the morning sun. The building was so respectful of Saarinen, as Moneo had promised. From the Triton Pool, the studios are understated; a red brick continuation of the original museum building. Approaching from the Orpheus Fountain, down the steps of the Chinese Dog, the new studio building reveals itself, yet echoes Saarinen. The wall of glass windows are like the original painting studios, whereas the factory elements of the kilns are metallic memories of Kingswood. Although these subtle tributes to Saarinen exist, the overall impression is of a new building, of its own time and character, reflecting the inventive ingenuity of Rafael Moneo. Walking through the interior spaces was an even greater delight. The high ceilings of the fiber department; the spacious metal working studios; and the huge, white ceramic kilns were admirable and awesome. Through the large windows were views of nature and courtyards; of the decorative detail of architecture. To us, perfection!
Of course, Moneo gave thanks to Gerhardt Knodel, director of the Academy, for bringing the project to completion. We thanked Gerhardt for inviting us to be part of the ceremonies and congratulated him. In the program was a list of those generous donors and patrons who provided the funds to make this possible. Our names “Agnes and Roy Slade” were listed among the Benefactors; also, a group named “The Friends of Roy Slade”. I was most appreciative and honored by their gift. Gerhardt wrote in the program that “this is a moment worth remembering”. How true!
Accolades
In our visit to Cranbrook, different people stopped to talk to us. Each made comments that were meaningful and heartfelt. Three of these reflect the different parts and people of Cranbrook. John Lord Booth, a descendant of the founders, was taking friends around the gardens of Cranbrook House, originally the home of the Booths. He stopped us and, in introducing me to his companions, said “Here is Roy Slade, the person responsible for starting the restoration of our community and bringing back recognition to Cranbrook.”
On Academy Way, we met Heather McGill; my appointment as Head of Sculpture. She was happy to see us and spoke of the sculpture students who were there when I was President. Heather said, “I’ve wanted to tell you that these students always talk of you, with many stories. They always ask about you, for to them, in their memories, Roy and the Academy are inseparable; you are as one.”
From the very beginning of my time at the Academy, Jack Lenor Larsen had, in every way, been most supportive. The greatest of weavers and fiber artists, distinguished alumni Larsen was highly respected; his advice and support was greatly appreciated. In our summers, we visit him in the Hamptons at his home Longhouse. After the dedication of the New Studios, at a reception, Jack came up to us. He stood there, wearing his inevitable cap and scarf. Quietly he said, “Roy, you are the pied piper. You led the way and we all followed; you made everything possible.” Jack stood still, his eyes sparkling, and smiled.
Parties and friends
For the dedication ceremonies, we stayed a few days; we met with friends and parties were given in our honor. Our first night, we stayed at the beautiful home of Bob Kidd and Ray Fleming; both alumni of the Academy but much more to us! Ray is one our dearest friends; the director of the Kidd Gallery in Birmingham, the gallery which shows my paintings. I have had two one man shows at the gallery; I was, and am, appreciative of his support of me as an artist and as President of the Academy. Over the years, we have had many adventures and fun times with Ray; he is one our family. A wonderful, warm and generous person, Ray Fleming has been supportive and dependable; always there for us, always with a smile. Many laughs and good times from the coast of Southern California to the Upper Peninsular of Michigan; too numerous to recall but fun to remember.
Pat and Jan Hartmann are our dear friends; Pat and Agnes brought up children together. For countless years, Pat served on the Academy Board of Governors; she and Jan were Trustees of Cranbrook Educational Community. I do remember Pat as one of the people that I met on that first visit to Cranbrook in 1976; her red hair and outgoing personality were unforgettable. Later, as Chair of the Academy’s Governors, she was spirited and tireless although we are both outspoken and opinionated, we worked well together. She and Jan served the Cranbrook community well and unselfishly; they epitomize the best of our country’s traditions of philanthropy and volunteerism. The Hartmanns gave generously of their time and money; they are patrons of art and friends to artists.
Nowadays, Agnes and I visit them at Naples in their penthouse, where the view and their collection of art are equally breathtaking. On the occasion of the dedication, we stayed with them at their home in Michigan. Pat and Jan are both generous and kind; they gave a party for us to meet our friends. We were delighted to see so many familiar faces, too many to mention here but friends indeed. During our few days, over coffees and lunches and dinners, we met so many friends; bringing back happy and warm memories of our years at Cranbrook. Many of these friendships continue to this day.
The evening before we left a dinner party was held at the home of Lila and Gil Silverman. I will always remember the first time that I visited them; I arrived at their house and over the garage door was art. I was amazed to see a small version of the huge flag by Mimi Herbert that adorned the façade of the Corcoran at the time of the Bicentennial. How did this get here in suburban Detroit? Lila and Gil Silverman are avid collectors of contemporary art; their Fluxus collection is the best ever! On entering their house, I was even more surprised to find my own paintings on view; two of the columns, purchased in one of their visits to Washington DC. We became good friends; I was privileged to present, at Cranbrook Art Museum, ‘The Gilbert and Lila Silverman Collection’; ‘Instructional Drawings’; ‘Fluxus Art’. Not only were Lila and Gil generous with loans from their collections; they generously supported installations and exhibitions by Dennis Oppenheim, Keith Haring, Yoko Ono and others. Again, the Silvermans epitomize the best traditions of patronage and philanthropy.
At that dinner, Gil gave a toast saying that two people had enriched the community and his life as a collector: “Sam Wagstaff at the Detroit Institute of Arts and Roy Slade at Cranbrook”. I could not have been more pleased by his linking me with the legendary Wagstaff. That night we stayed with our other dear friends, Shirley and Frank Piku; their names appear elsewhere in these reminisces. Agnes and I are blessed with many friendships and endless memories; too numerous by far to mention here but, nevertheless, deeply appreciated and cherished.
Closure
On that last evening, Agnes and I took time to visit the Academy; quietly, by ourselves. At night, the Triton Pool sculptures were illuminated and the lights of the new studios reflected in the water. In the reflections was the merging of the past and present, a magical moment that was memorable; as was our visit. For the Academy, new studios, a building for the future! For us, celebration and closure!
