Detroit is anything if not confrontational. A constant work-in-progress, the Michigan city is the ultimate rags to riches to… rags… story. There’s a reason Marvin Gaye called it both “Heaven” and “Hell”. This is the city that went from being one of the world’s most affluent to declaring bankruptcy a little over 10 years ago.
But you can’t bury what comes from the dirt. Led by a growing contingent of young, ambitious creatives, Detroit is now becoming a canvas for contemporary artists and, thanks to a coterie of high-profile international curators and collectors, those artists are turning their gaze beyond the cityscape towards the global art market, seeking to stamp Motown on the map.
"I don’t think that we’re accurately documented in the media,” says local artist Tiff Massey. “We’re winning. Detroit’s hot right now."
But you can’t bury what comes from the dirt. Led by a growing contingent of young, ambitious creatives, Detroit is now becoming a canvas for contemporary artists and, thanks to a coterie of high-profile international curators and collectors, those artists are turning their gaze beyond the cityscape towards the global art market, seeking to stamp Motown on the map.
"I don’t think that we’re accurately documented in the media,” says local artist Tiff Massey. “We’re winning. Detroit’s hot right now."
Neon artwork by Martin Creed, titled Work no. 790: EVERYTHING IS GOING TO BE ALRIGHT, 2007 | Credit: The artist, Gavin Brown’s enterprise and MOCAD
From an artistic point of view, Detroit clearly is winning. In the last few years, it has witnessed a complete transformation: the seemingly apocalyptic levels of decay depicted in films like RoboCop are dwindling. The Detroit Institute of Arts (DIA) is now the fourth largest art museum in the United States and was recently voted the “Best Art Museum in the USA” by USA Today. Last year, Michigan Central Station, formerly an iconic symbol of Detroit's plight, reopened after a lengthy rehab funded by Ford Motor Company. Ford also launched an art programme to establish the city and station as a global art destination, rooting its initiative in community arts, technology and society. There followed more fresh ideas and establishments, such as the Modern Ancient Brown Foundation by artist McArthur Binion, which supports interdisciplinary artists from historically marginalised groups, the Black Art Library, the nonprofit Signal-Return, which is dedicated to preserving and teaching traditional letterpress printing, and the Progressive Art Studio Collective (PASC), which is dedicated to supporting artists with developmental disabilities and mental health differences. And that’s in addition to long-established organisations like the Museum of Contemporary Art and Design (MOCAD), which serves as both a catalyst for artistic expression and a bridge between Detroit and the global art world.
"I've witnessed the exciting transformation," says Marie Madison-Patton, co-director at MOCAD. "This evolution reflects the vibrancy of Detroit’s community. Art emerging from Detroit often reflects the city’s resilience, resourcefulness and profound connection to its community. Collaboration has been a driving force, both with artists and cultural institutions."
From an artistic point of view, Detroit clearly is winning. In the last few years, it has witnessed a complete transformation: the seemingly apocalyptic levels of decay depicted in films like RoboCop are dwindling. The Detroit Institute of Arts (DIA) is now the fourth largest art museum in the United States and was recently voted the “Best Art Museum in the USA” by USA Today. Last year, Michigan Central Station, formerly an iconic symbol of Detroit's plight, reopened after a lengthy rehab funded by Ford Motor Company. Ford also launched an art programme to establish the city and station as a global art destination, rooting its initiative in community arts, technology and society. There followed more fresh ideas and establishments, such as the Modern Ancient Brown Foundation by artist McArthur Binion, which supports interdisciplinary artists from historically marginalised groups, the Black Art Library, the nonprofit Signal-Return, which is dedicated to preserving and teaching traditional letterpress printing, and the Progressive Art Studio Collective (PASC), which is dedicated to supporting artists with developmental disabilities and mental health differences. And that’s in addition to long-established organisations like the Museum of Contemporary Art and Design (MOCAD), which serves as both a catalyst for artistic expression and a bridge between Detroit and the global art world.
"I've witnessed the exciting transformation," says Marie Madison-Patton, co-director at MOCAD. "This evolution reflects the vibrancy of Detroit’s community. Art emerging from Detroit often reflects the city’s resilience, resourcefulness and profound connection to its community. Collaboration has been a driving force, both with artists and cultural institutions."
MOCAD co-directors, Marie Madison-Patton (left) and Jove Lynne, and local street art | Credit: Bre’Ann White, Zachary Kadolph
Among the most impressive of transformations is the historic 1908 Lincoln Motor Company Plant. The formerly abandoned automobile factory reopened last year, as “Dreamtroit”, a bohemian haven where established and budding artists live and collaborate.
The building’s old brick facade, which is listed on the US National Register of Historic Places, has been preserved. At the entrance, a sign reading "Life is a Dreamtroit" hangs between colourful murals that decorate the windows. Inside, it's a vast open space with a mixture of preserved graffiti and new works. Stroll through and you’ll find a café, club, recycling plant and businesses including Michigan & Trumbull Pizza. Everywhere is a blend of salvaged graffiti from the abandoned days alongside artworks from Dreamtroit’s residents. There are murals by street artist Fel3000ft, who used to illegally tag the walls of the factory. Now he’s been invited to paint portraits like that of Alice in Wonderland on the building's walls. Then, there’s artist Ryan C. Doyle. Prior to moving in, he spent a decade creating the fever dream installations found at Burning Man festival. Nowadays, he’s building ornate sculptures out of salvaged cars and motorcycles for Dreamtroit.
Among the most impressive of transformations is the historic 1908 Lincoln Motor Company Plant. The formerly abandoned automobile factory reopened last year, as “Dreamtroit”, a bohemian haven where established and budding artists live and collaborate.
The building’s old brick facade, which is listed on the US National Register of Historic Places, has been preserved. At the entrance, a sign reading "Life is a Dreamtroit" hangs between colourful murals that decorate the windows. Inside, it's a vast open space with a mixture of preserved graffiti and new works. Stroll through and you’ll find a café, club, recycling plant and businesses including Michigan & Trumbull Pizza. Everywhere is a blend of salvaged graffiti from the abandoned days alongside artworks from Dreamtroit’s residents. There are murals by street artist Fel3000ft, who used to illegally tag the walls of the factory. Now he’s been invited to paint portraits like that of Alice in Wonderland on the building's walls. Then, there’s artist Ryan C. Doyle. Prior to moving in, he spent a decade creating the fever dream installations found at Burning Man festival. Nowadays, he’s building ornate sculptures out of salvaged cars and motorcycles for Dreamtroit.
Meleko Mokgosi’s summer 2024 installation at MOCAD | Credit: Timothy Johnson, Museum of Contemporary Art Detroit
The reinvigoration of the Lincoln Factory is largely complete. Now, it’s about fostering the arts community and ensuring its offering is accessible to all.
That’s the mission of Library Street Collective founder Anthony Curis, too. Curis, a former real estate developer turned collector, has invested heavily in arts projects across Detroit. Since launching in 2012, his collective has become a pillar in Detroit’s artistic community, showcasing large-scale public projects that bring experiential contemporary art to Detroiters. Its latest project, Little Village, opened in summer 2024. It comprises the transformation of a formerly derelict East Side neighbourhood into an artistic hub. There’s a sculpture garden dedicated to the late Detroit artist Charles McGee, numerous gallery spaces, a public library and a skate park designed in collaboration with Tony Hawk, in addition to creatively curated restaurants, green spaces, bars and even a B&B. All of it was developed in partnership with community organisers, residents, artists and architects.
"The initiatives in Little Village are a testament to this shared commitment to expanding what’s possible in Detroit,” says Curis. “Making it a city where art isn’t confined to galleries or studios, but embedded in our public spaces.
The reinvigoration of the Lincoln Factory is largely complete. Now, it’s about fostering the arts community and ensuring its offering is accessible to all.
That’s the mission of Library Street Collective founder Anthony Curis, too. Curis, a former real estate developer turned collector, has invested heavily in arts projects across Detroit. Since launching in 2012, his collective has become a pillar in Detroit’s artistic community, showcasing large-scale public projects that bring experiential contemporary art to Detroiters. Its latest project, Little Village, opened in summer 2024. It comprises the transformation of a formerly derelict East Side neighbourhood into an artistic hub. There’s a sculpture garden dedicated to the late Detroit artist Charles McGee, numerous gallery spaces, a public library and a skate park designed in collaboration with Tony Hawk, in addition to creatively curated restaurants, green spaces, bars and even a B&B. All of it was developed in partnership with community organisers, residents, artists and architects.
"The initiatives in Little Village are a testament to this shared commitment to expanding what’s possible in Detroit,” says Curis. “Making it a city where art isn’t confined to galleries or studios, but embedded in our public spaces.
Cultural arts centre The Shepherd | Credit: Jason Keen, Library Street Collective
Little Village’s pièce de résistance is The Shepherd, a 110-year-old Romanesque-style church now operating as a cultural arts centre, with multi-faceted programming that includes exhibitions, performances and public arts projects. Inside, the original mosaics, stained glass windows and massive organ have been preserved. Instead of pews, though, there’s a gigantic pink rocket ship standing in the middle of the room, and, in one of the transepts, two kayak seats are bolted to the wall, a black, mangled mop with protruding sticks taking centre stage. It’s a jarring juxtaposition, but there’s a serenity to the scene, with religiosity making way for contemporary art.
"The projects in Little Village intend to blur the boundarie between public and private space,” says Curis. “And it’s in a neighbourhood accessible to all that we hope can serve as a community space Detroiters are proud to use."
And Detroiters, through all the hardships, are immensely proud. They’re proud of their sports teams. They’re proud of their city’s unofficial mantra, “Detroit vs Everybody”. And they’re proud of their city’s artistic resurgence.
Little Village’s pièce de résistance is The Shepherd, a 110-year-old Romanesque-style church now operating as a cultural arts centre, with multi-faceted programming that includes exhibitions, performances and public arts projects. Inside, the original mosaics, stained glass windows and massive organ have been preserved. Instead of pews, though, there’s a gigantic pink rocket ship standing in the middle of the room, and, in one of the transepts, two kayak seats are bolted to the wall, a black, mangled mop with protruding sticks taking centre stage. It’s a jarring juxtaposition, but there’s a serenity to the scene, with religiosity making way for contemporary art.
"The projects in Little Village intend to blur the boundarie between public and private space,” says Curis. “And it’s in a neighbourhood accessible to all that we hope can serve as a community space Detroiters are proud to use."
And Detroiters, through all the hardships, are immensely proud. They’re proud of their sports teams. They’re proud of their city’s unofficial mantra, “Detroit vs Everybody”. And they’re proud of their city’s artistic resurgence.
Tiff Massey | Credit Taizon Taylor, DIA and the artist
At the DIA, where most visitors typically gather to see the requisite Van Goghs, Monets and sprawling frescoes by Diego Rivera, the biggest line right now is for the exhibition “7 Mile + Livernois” by Tiff Massey. Consisting of installations, public art and something the artist calls “wearable sculptures”, it’s an homage to Black culture, ancestral flyness and the beauty of growing up in the Motor City. On the walls, you’ll find hair clips decorated with butterflies and flowers, embodying the connection between adornment and family, friendship and community – a rite of passage for many Black girls in the city. Massey has also created an expansive sculpture that takes up an entire room, honouring the city’s beloved greeting “Whatupdoe” – an enlarged, interlocked piece of metallic jewellery that acts as an invitation for viewers to embrace Detroit’s diverse neighbourhoods and communities. Because to experience Detroit means engaging with the city – the good, the bad and the ugly.
Tiff Massey puts it bluntly: “Meet the people here in the D. Come pull up on us.
At the DIA, where most visitors typically gather to see the requisite Van Goghs, Monets and sprawling frescoes by Diego Rivera, the biggest line right now is for the exhibition “7 Mile + Livernois” by Tiff Massey. Consisting of installations, public art and something the artist calls “wearable sculptures”, it’s an homage to Black culture, ancestral flyness and the beauty of growing up in the Motor City. On the walls, you’ll find hair clips decorated with butterflies and flowers, embodying the connection between adornment and family, friendship and community – a rite of passage for many Black girls in the city. Massey has also created an expansive sculpture that takes up an entire room, honouring the city’s beloved greeting “Whatupdoe” – an enlarged, interlocked piece of metallic jewellery that acts as an invitation for viewers to embrace Detroit’s diverse neighbourhoods and communities. Because to experience Detroit means engaging with the city – the good, the bad and the ugly.
Tiff Massey puts it bluntly: “Meet the people here in the D. Come pull up on us.
