antique – Michigan Quarterly Review

antique

Unsolved Histories: Books Uncovered, Records Spun, and a Resurrection Gone Awry

Let me tell you how I first met Fannie Ingram Schwahn. How I was browsing the local antique store a summer or so back when there, buried amid the flotsam and jetsam, I came upon a wedding certificate dated June 5, 1922. Fannie was listed as the bride, and though I knew nothing of her—had never even heard her name—I was entranced, nonetheless by her story. Or rather, the story of how her marriage certificate had made its ways into my hands.

Unsolved Histories: Books Uncovered, Records Spun, and a Resurrection Gone Awry Read More »

Let me tell you how I first met Fannie Ingram Schwahn. How I was browsing the local antique store a summer or so back when there, buried amid the flotsam and jetsam, I came upon a wedding certificate dated June 5, 1922. Fannie was listed as the bride, and though I knew nothing of her—had never even heard her name—I was entranced, nonetheless by her story. Or rather, the story of how her marriage certificate had made its ways into my hands.

Julie Schenkelberg Builds Shipwrecks of Hope: “Symptomatic Constant”

Within the materials lies Schenkelberg’s remarkable talent for recapturing wonder. “Symptomatic Constant” is a massive work. It starts as rubble on the marble floor with plaster dust and shards of ceramic, resembling a shore of beach glass, then steadily the work grows up into the high space of the lobby’s ceiling with fabric draped to an old cast-iron heating register. Schenkelberg builds in layers with architectural salvage culled from the site itself as well as local thrifting. Her cultural archeology is distinctive in its details and restless as the whole of her ship-like installation.

Julie Schenkelberg Builds Shipwrecks of Hope: “Symptomatic Constant” Read More »

Within the materials lies Schenkelberg’s remarkable talent for recapturing wonder. “Symptomatic Constant” is a massive work. It starts as rubble on the marble floor with plaster dust and shards of ceramic, resembling a shore of beach glass, then steadily the work grows up into the high space of the lobby’s ceiling with fabric draped to an old cast-iron heating register. Schenkelberg builds in layers with architectural salvage culled from the site itself as well as local thrifting. Her cultural archeology is distinctive in its details and restless as the whole of her ship-like installation.

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