Every four years, we add an extra day to the calendar to catch up to Earth’s revolutions around the Sun. For most of us, it is just February 29th, an extra day in the week. For leaplings, it is a day to celebrate their true birthday.
Different cultures have different customs associated with February 29th, known as Leap Day. In some cultures, it is also known as Bachelor’s Day or Ladies’ Privilege, because that is the day that women can propose to men.
In Finland, leap-year day proposals are considered good luck. If, however, the gentleman says “no,” he is required to give the woman enough fabric to make a skirt.
According to Medium.com, “The tradition reflects the Finnish spirit of equality and a shared sense of humor within romantic relationships. It challenges gender norms in a playful manner, encouraging women to take the lead in expressing their feelings and creating a shared memory that will be cherished for years to come.”
“While leap-year day may be just one day every four years, the tradition of women proposing adds a touch of magic and unpredictability to Finnish love stories. It’s a celebration of love, luck, and the joy of shared laughter, reminding couples that romance can be both traditional and delightfully unexpected in the heart of Finland.”
Something else unexpected is an elopement, a sudden and secret ceremony involving a flight from home without parental approval. One of Cranbrook’s “Finnish love stories” involved one such elopement.
Shortly after she turned 21, Eva-Lisa “Pipsan” Saarinen eloped to Toledo, Ohio with Jons Robert Ferdinand “Bob” Swanson, one of Eliel’s architecture students. They were married on May 8, 1926. According to Pipsan Saarinen researcher Alison Kowalski, “The young couple eloped because Eliel and/or Loja objected to the match, probably in part because Bob was of a lower socio-economic status than the Saarinens. According to Henry Scripps Booth, a close friend of Bob and Pipsan, Loja felt Bob was using Pipsan to get close to Eliel.”
Eliel, Bob, Bobby, and Pipsan aboard the MS Gripsholm, 1929. Courtesy Cranbrook Archives.
Bob struggled to support himself and Pipsan at the beginning of their marriage. Perhaps she proposed, and he didn’t have enough money to cover the cost of skirt fabric for such a fashionable lady.
Watercolor dress design by Pipsan Saarinen Swanson, circa 1933. Collection Cranbrook Art Museum.
More likely, they were truly in love. They were married from 1926 until Pipsan passed away in 1979.
—Leslie Mio, Associate Registrar, Cranbrook Center for Collections and Research
As college students across the country buckle down to study for final exams and finish writing end-of-semester papers, there will be one school where that’s not happening: Cranbrook Academy of Art. Instead, our Academy students are busy making in their studios, and frantically producing work for their semi-regular critiques with Artists-in-Residence. This follows the model set up here by founding president Eliel Saarinen, who famously rejected what he called the “non-creative-school-book-learned-art-teacher” in favor of a method he called “self-education under good leadership.”
While the Academy’s extremely self-directed, studio-based education is proudly traced back to our founding, Cranbrook did, in fact, once offer formal courses in the history of art. These quarterly courses—taught by museum curators, visiting professors, and artists—utilized both slide shows and actual paintings.
Museum Director Albert Christ-Janer teaching his “Survey of the Arts” history class for Cranbrook Academy of Art students, 1945. Christ-Janer arrived at Cranbrook in June of 1945 and left for the University of Chicago in September 1947. Harvey Croze, photographer. Courtesy Cranbrook Archives.
Here, we see Museum Director Albert Christ-Janer lecturing in the then-new Cranbrook Academy of Art Museum and Library. The classroom is simple, just folding chairs and an illuminated blackboard set up in the lower-level galleries. In front of the students hangs Doris Lee’s Fisherman’s Wife. I admire Christ-Janers books, and imagine it would’ve been very exciting to attend one of his lectures.
Christ-Janer discussing Fisherman’s Wife by Doris Lee (CAM 1945.27). Lee painted the scene of Key West, Florida while she was a visiting artist at Michigan State in 1945. It was purchased by the Cranbrook Foundation that same year. Harvey Croze, photographer. Courtesy Cranbrook Archives.
In the Academy’s 1945 Course Catalog, Christ-Janer is listed as “Instructor in the Survey of the Arts.” By the 1970s, then President Wallace Mitchell stopped offering anything like a history of art course at the Academy in favor of a history/theory seminar called the Humanities Forum. This evolved into the Critical Studies program today—the only required lecture/seminar for Academy students, but which is, as always, ungraded.
I’d note that Christ-Janer is teaching in a full suit and tie—a sight rarer at the Academy today than a history of art course!
Even though the Academy no longer offers a History of Art course in its curriculum, I like to think that the Center’s History of American Architecture lecture series continues the tradition of art history at Cranbrook. For the past six years, I’ve taught architecture history to interested Academy and Cranbrook Schools students, and open to members of the public.
Kevin Adkisson teaching History of American Architecture: Cranbrook in Context, March 3, 2020. Photography by Daniel Smith, CAA 2021, Courtesy Cranbrook Center for Collections and Research.
Starting on February 6, 2024, the History of American Architecture lecture series returns. This year’s subject is “Detroit and the World,” and we are offering two ways to attend the lecture: virtually, at noon or 6:30pm EST, or in person at Cranbrook Art Museum’s de Salle Auditorium at 6:30pm. We launched the website and ticket sales on Wednesday, and I encourage you to read more about each week’s topic and consider signing up over on our website. There’s so much great Detroit architecture, and I am excited to share it with you in lectures this winter!
In his unpublished 1950 manuscript, The Story of Cranbrook, Eliel Saarinen wrote of Cranbrook students as “the pupil is like an empty sack to be filled during the school year.” I hope you’ll join me in February as we fill ourselves up with knowledge!
—Kevin Adkisson, Curator, Cranbrook Center for Collections and Research
HISTORY OF AMERICAN ARCHITECTURE
DETROIT AND THE WORLD
This installment will focus on the architecture of Detroit, studying the buildings, designers, and policymakers that shaped the city’s dramatic transformations from the late nineteenth century to today, and how Detroiters have influenced the course of architecture around the globe.
From the moment I entered Saarinen House twenty-seven years ago to give my first public tour, to my upcoming presentation for the Kingswood Middle School for Girls Explore Cranbrook students, I remain . . . simply enthralled. No more so than by the vibrant Peacock Andirons gracing the living room hearth.
Eliel Saarinen’s cast bronze Peacock Andirons, 1928-29. Each 21-1/4” W x 22-3/8” H x 27-1/4” D. Collection of Cranbrook Art Museum, CAM1985.2 a-b. Robert Hensleigh, photographer.
Designed by Finnish-American architect Eliel Saarinen and produced by Sterling Bronze Company, New York between 1928 and 1929, these cast bronze andirons were paid for by the Cranbrook Foundation and entered in the 1928-1930 Arts & Crafts Building ledger on pages 40-41 (third line from the bottom)—Date: 1-7-30; No.: 515; Name: Sterling Bronze Co; Remarks: 1 pair/ Andirons for Saarinen Res[idence]; Amount: $152.50 (the equivalent of $2,631.50 in 2023).
Arts & Crafts Building ledger, 1928-30. Laura MacNewman, photographer, 2023. Cranbrook Archives.
The pair of birds are fabulous. Ready and alert, they face each other, ankles bent, balanced upon splayed toes.
In Part I of this post, we explored Cranbrook’s love of the book, from its origins with founders George and Ellen Booth, to the existing special collections at the Archives and Academy of Art. I invite you now to learn of the many rare, valuable, and historical tomes whose existence may be unknown to most or simply overlooked in collections at the Schools, Institute of Science, and two historic homes cared for by the Center for Collections and Research: Saarinen House and Smith House.
Hoey Patch Collection at the Cranbrook School Library. Courtesy of Kate Covintree, Cranbrook Kingswood Upper Schools.
Like the Academy of Art, although not at all on the same scale, books from George and Ellen’s Cranbrook House Library were dispersed to the Cranbrook Schools Libraries, now comprised of five separate spaces. Following the Booth’s example, Cranbrook School Headmaster Harry D. Hoey (1950-1964) and Latin teacher George Patch (1928-1944, Emeritus 1944-1950) donated 120 books from their personal libraries to the School’s library in the 1950s, forming one of several special collections. Known as the Hoey Patch Collection, all of the volumes focus on an aspect of Abraham Lincoln or the American Civil War.
He Knew Lincoln, a fictionalized account written by Ida Tarbell, a progressive journalist, and published in 1907. The book’s custodial history is documented with correspondence from the author, written directly on the inside of the book. Courtesy of Kate Covintree, Cranbrook Kingswood Upper Schools.
Highlights include a First edition of The Life of Abraham Lincoln, the first full-scale biography of the President. Written by newspaper editor J.G. Holland, it was published shortly after Lincoln’s assassination in 1865. Also included is a first edition, two-volume set of the Personal Memoirs of U.S. Grant. Ulysses S. Grant penned his autobiography shortly before his death in 1885 as a means of financial support for his family. It was published with the support of his friend Mark Twain by the Charles L. Webster Company (owned by Twain’s nephew).
Eliel Saarinen wasn’t much for philosophizing about his work. Cranbrook’s principal architect demonstrated his beliefs about architecture through the bricks and stones of his buildings, rather than through academic lectures or theoretical treatise.
When I give tours of campus, I often highlight the fact that in Saarinen’s buildings, a brick wall is a structural brick wall, and a stone column is a structural stone column. If that sounds obvious, well, it’s because architects are excellent at deception.
Bricks and Mankato Kasota stone pilasters at Cranbrook Art Museum. Photograph by Daniel Smith CAA Architecture 2021. Courtesy Cranbrook Center.
In the 1920s and 1930s (and straight through to today), it was much cheaper to build a wall of concrete block or wood and then cover it in a façade of brick, or to design a reinforced concrete column and then wrap it in thin stone veneer. Solid brick walls and true stone columns are more expensive and more limiting to the designer (you can build taller, wider, and cheaper in steel and concrete). Regardless of a building’s style, by the early 20th century most of our country’s institutional buildings were constructed of modern materials and wrapped in traditional ones.
This habit of facadism (a focus on the material appearance without regard to the structural reality) was abhorrent to devotees of modernism. In International Style modern architecture, then, architects simply did away with brick walls and stone columns—materials used in construction for millennia—in favor of concrete, glass, and steel. The structure and the appearance of the architecture were one in the same.
But at Cranbrook, with its deep roots in the Arts and Crafts Movement, Saarinen went the other direction. True stone and brick construction was integral to our founding ethos, and to Saarinen’s designs.
Detail of brickwork on the dormitories of Cranbrook School for Boys (Cranbrook Campus, Cranbrook Kingswood Upper School). Photograph by Kevin Adkisson, Courtesy Cranbrook Center.
While many of Saarinen’s contemporaries were dealing with so-called ‘dishonest’ forms of architecture (steel and concrete frames clad in traditional styles rooted in masonry construction), Saarinen avoided the problem of ‘dishonesty’ by building modern buildings traditionally. Saarinen did use concrete vaults and floor slabs, as well as steel trusses, but he connected these to brick load bearing walls and stone columns.
Adding to the unusual fact that Cranbrook’s brick walls and brick vaults are structural, the beauty of Saarinen’s brickwork stands out. He achieved a special blend of true engineering and true artistry. This combination of beauty and utility was key to the Arts and Crafts Movement, and to the form-following-function ethos of Saarinen’s modernism.
More simply, the brickwork of Cranbrook is a visual delight.
Patterned brick and Mankato Kasota stone bench at Kingswood School for Girls (Kingswood Campus, Cranbrook Kingswood Upper School). Photograph by James Haefner, Courtesy Cranbrook Center.
In Edward Ford’s The Details of Modern Architecture (1996), the architecture historian and professor writes that:
“Few Modernists were less interested in industrialization and standardization than Eliel Saarinen, and it is more than ironic that fate was eventually to place him at its heart, Detroit, and that he was to spend the second half of his career…at Cranbrook, fifteen miles from Highland Park and twenty miles from River Rouge, designing schools for the children of auto executives.”
Basket-woven brick barrel vault in the Arts and Crafts Courtyard, Cranbrook Academy of Art. Photograph by James Haefner, Courtesy Cranbrook Center.
There is much more to say about Saarinen’s brickwork, and bricks at Cranbrook more broadly. On October 25, 2021, I invite you to join me for the Center’s next Uncovering Cranbrook virtual lecture: The Bricks of Cranbrook: Humble Material, Monumental Design. I’ll discuss the history of bricks, where our bricks came from and what makes them unique, and, most importantly, revel in the beauty of the billions of bricks on this campus. And, after the lecture, join me on campus for a special behind-the-scenes brick themed tour!
—Kevin Adkisson, Curator, Cranbrook Center for Collections and Research
Cranbrook Archives is pleased to announce a new collection available for research. An intriguing collection, it comprises the personal and professional papers, photographs, realia, and architectural drawings of Walter Preston Hickey, a student of Eliel Saarinen. Yet, while traces of key life events and relationships—birth, parentage, education, marriage, friends, and employers—can be found in the collection, Hickey’s life after Cranbrook remains largely a mystery.
Walter Hickey working in the Architecture Studio, 1935. Courtesy of Cranbrook Archives, Cranbrook Center for Collections and Research.
A native of Detroit, Hickey attended the University of Michigan School of Architecture (1926-1930), during which time he worked with architects Albert Kahn (1928) and Thomas Tanner, as well as being one of the first staff members of the Cranbrook Architectural Office.
A Transportation Building for a World’s Fair, circa 1926-1930. A University of Michigan Class Project by Walter Hickey. Courtesy of Cranbrook Archives, Cranbrook Center for Collections and Research.
He applied to study architectural design with instruction in city planning at Cranbrook Academy of Art, starting in September of 1932. He became especially interested in highway traffic control, which formed the topic of his 1935 thesis on theWaterfront Development for the City of Detroit. Hickey submitted designs to various Academy competitions and won a $10 prize from Loja Saarinen for design No. 13 in the Cranbrook Academy of Art Rug Competition in 1934.
Drawing by Walter Hickey, undated. Courtesy of Cranbrook Archives, Cranbrook Center for Collections and Research.
After leaving Cranbrook, Hickey worked for various architecture firms, including Smith, Hinchman, and Grylls, and Clair W. Ditchy. After a short time with the Federal Housing Administration, he returned to work with Eliel and Eero Saarinen on the Kleinhans Music Hall project. He also completed private architectural designs for residences, including work on Ralph Rapson’s Hoey vacation home, Longshadows, in Metamora, MI. Around this time, he went to work at the General Motors Technical Center and continued to live in Birmingham, Michigan. And here is where his story ends in the collection.
Jane Viola Shepherd. Courtesy of Cranbrook Archives, Cranbrook Center for Collections and Research.
Although this is a very small collection, the diversity of content is rewarding for its ability to convey snapshots of his life in individual and unique items. It includes Christmas cards, such as one from “the Lorches” (Emil Lorch was the President of the University of Michigan Architecture School), a few letters from friends, and something of a typed love letter (on Cranbrook Academy of Art letterhead!) from Zoltan Sepeshy’s Secretary Jane Viola Shepherd to whom he was married on April 22, 1937.
Correspondence to Walter Hickey, 1934-1937. Courtesy of Cranbrook Archives, Cranbrook Center for Collections and Research.
A small series of photographs hold moments of his life and some of the people with whom he shared it, including his father, eminent roentgenologist (radiography) Dr. Preston Hickey; his wife, Jane; his teacher, Eliel; and his fellow Academy students. A series of snowy scenes of Cranbrook campus beautifully capture the quietness of falling snow with hints of sunlight upon the architecture and sculptures that were then in their infancy and are now historic.
Cranbrook Academy of Art campus, circa 1932-1935. Courtesy of Cranbrook Archives, Cranbrook Center for Collections and Research.
The Walter Hickey Papers give insight into a short period in Hickey’s life and the Cranbrook of his time. It also gives us a lovely look into a life that was surely shaped by his experience at Cranbrook, but one that remains yet to be fully discovered.
–Laura MacNewman, Associate Archivist, Cranbrook Center for Collections and Research
Last week, I was happy to welcome a small group tour into the reading room to view archival materials about chairs. After the tour request appeared in my inbox, I learned a lot about chairs in a short time and found a new appreciation for this commonplace object.
As I searched and gathered materials for the display, I began to see how imagination and inspiration can transform an ordinary thing from complete obscurity to one of curiosity and sometimes great celebrity.
Florence Knoll in Eero Saarinen’s Grasshopper Chair in the Dallas Original Showroom, 1950. Courtesy of Cranbrook Archives
The chair has been creatively reinvented time and again according to the social context of its use, the cultural meaning imbued in it, or the inspiration from which its design sprang. Just think throne, pew, sofa, deck chair, chaise-lounge, and so on.
Take one of Cranbrook’s most iconic chairs – Eliel Saarinen Cranbrook School dining hall chair. Designed to withstand use by teenage boys, it combines durability with sophistication and has stood the test of time as they are still in use after 94 years. At the back of each chair is a bronze crane insert, a symbol that subtly gives identity to the community using the chair.
Cranbrook School Dining Hall, October 1936. Courtesy of Cranbrook Archives.
Interestingly, Eero’s later chair designs are all much inspired by nature—the Grasshopper chair, the Womb chair, and the Tulip Chair.
Eero Saarinen sitting in the prototype of his Womb Chair at his Vaughn Road home. 18 June 1947. Photographer: Harvey Croze. Courtesy of Cranbrook Archives.
Inspired by nature in a different way, Finnish architect and furniture designer Olav Hammarstrom has a variety of designs that are born of the possibilities to which natural materials lend themselves. Hammarstrom worked with Alvar Aalto and Eero Saarinen and Associates, working on projects such as the Baker House dormitory at MIT and the furnishings at the GM Tech Center. Married to Head of the Weaving Department Marianne Strengell, he designed their house in Wellfleet on Cape Cod, as well as houses for friends and colleagues, along with chairs to go in them.
Bamboo Experimental “Basketchair” by Olav Hammarstrom. 10 February 1956. Courtesy of Cranbrook Archives.
Furniture design was also the focus of another Academy affiliated designer, Pipsan Saarinen Swanson. Working in partnership with her husband, architect J. Robert F. Swanson, Pipsan typically designed the interiors while he designed the structure and exterior.
Chair designed by Pipsan Saarinen Swanson. December 8, 1945. Photographer: Harvey Croze. Courtesy of Cranbrook Archives.
But Robert Swanson also designed furniture. Perhaps the most surprising thing I learned was that Swanson invented a ‘Stackable Chair,’ patented in 1957. A form we take for granted nowadays, these chairs can still be found in many buildings and classrooms on Cranbrook’s campus.
The “Stackable Chair” by J. Robert F. Swanson, 1957. Courtesy of Cranbrook Archives.
It was a great pleasure to share these archival stories with our guests and to explore Cranbrook’s part in the story of the chair. In the process I learned to see an everyday thing in a new light and how creativity can transform the ordinary into the extraordinary.
–Laura MacNewman, Associate Archivist, Cranbrook Center for Collections and Research
In preparation for the Center’s upcoming seminar, featuring research on weaver Nelly Sethna, I became curious about an Academy of Art scholarship established in honor of Cranbrook founder, Ellen Scripps Booth.
Sethna had been a recipient of this financial award, which had allowed her to study abroad (Sethna was a citizen of India) at Cranbrook for one year, 1958-1959. Though it was Sethna’s artistic ability, not financial need, that earned her the award, she would never have made it to Cranbrook without this assistance, as indicated in letters to Weaving Department Head, Marianne Strengell.
Nelly H. Sethna, circa 1958. Courtesy of Cranbrook Archives.
Sethna’s subsequent successful career in textile design demonstrated the value of providing assistance for artists to attend the Academy. I wondered how many other similar stories there were in the Archives. I did not need to look past the first decade of memorial scholarship awardees to find plenty.
While the scholarship was granted to deserving artists in metalsmithing, painting, ceramics, and weaving in the ten years between 1951-1961, it was two fellow weavers of Sethna’s that caught my eye. They, too, had proven themselves worthy of distinction through their artistic accomplishments, but they, too, had financial needs that would have prohibited their attending the Academy otherwise.
Dixie Roto Magazine article featuring Katherine Choy, Sept. 14, 1952. Copyright The Times-Picayune, New Orleans States. Courtesy of Cranbrook Archives.
The first recipient of the scholarship was Katherine P. Choy, a Chinese expatriate and graduate of Mills College in Oakland, California. Choy came to Cranbrook in 1951 to study ceramics for one year as a non-degree student. She would spend near equal time in both the ceramics and weaving departments, under the dual tutelage of Maija Grotell and Marianne Strengell.
Upon leaving Cranbrook, she would enjoy success in both fields, first heading up the legendary Newcomb College Ceramics Department at Tulane University and later joining the design team at Isabel Scott Fabrics in New York. With fellow artist Henry Okamoto, Choy also founded The Clay Art Center in Port Chester, New York, which still exists today. Choy’s ceramics can be found in the collections of the Cooper-Hewitt Smithsonian Design Museum, theMuseum of Arts and Design in New York, as well as the New Orleans Museum of Art.
Tsuneko Yokota, circa 1955. Courtesy of Cranbrook Archives.
Another scholarship winner, and weaver, in the first decade of the award was Tsuneko Yokota (Fujimoto), for the academic year 1957-1958. A graduate of the Design Department at Tama College of Fine Arts in Tokyo, Yokota distinguished herself in fabric dying, winning several awards and a scholarship for an additional year at Tama as an honor graduate. At the suggestion of one of her instructors, and with a recommendation from Marianne Strengell, who knew her instructor, Yokota came to Cranbrook to further her studies in weaving and textile design. Unlike Sethna and Choy, though, Yokota stayed an additional year at the Academy and earned her MFA in Weaving.
By all accounts, Yokota lived up to Strengell’s confidence that she, “will most certainly have ample chance and desire to spread our particular brand of education and design in Japan,” working with celebrated modernist interior designers like Isamu Kenmochi.
Cranbrook Academy of Art scholarship announcement, 1960. Courtesy of Cranbrook Archives.
The Ellen Scripps Booth Memorial Scholarship was established in 1951 along with the George Gough Booth and Eliel Saarinen Memorial Scholarships by the Academy of Art Board of Trustees. Academy faculty, under the leadership of Director Zoltan Sepeshy, recommended these scholarships be granted based on unusual merit of work submitted rather than financial need. Academy administrative documents indicate that the Ellen Scripps Booth Scholarship Fund had wide support from not only Academy faculty and staff, but also many at the Foundation, Press, Central Committee, and House. Scholarship award amounts varied somewhat from year to year, (in 1953 they were evenly split between two awardees), but the scholarship continued to be granted until at least 1965. While these named scholarships are no longer awarded (and I was unable to deduce exactly why or when they stopped), scholarships and financial aid for talented students are still vital to the success of the Academy and its artists.
—Deborah Rice, Head Archivist, Cranbrook Center for Collections and Research
Editor’s Notes: On Tuesday, June 22 the Center broadcasts live from Cranbrook and India for scholar Vishal Khandelwal’s examination, using materials from Cranbrook Archives, of a fascinating connection between mid-century textile design in the United States and India, as seen through the work of Nelly Sethna. Register here for this illuminating virtual event.
Along with Nelly Sethna (1958-59), find early scholarship winners, such as Paul R. Evans (1952-53) and Howard William Kottler (1956-57) featured in Cranbrook Art Musuem’s new exhibit and companion publication, With Eyes Opened. Find details and purchase advance tickets to the exhibit on the Museum’s website.
Read a recent exciting announcement about new scholarship and financial opportunities for students on the Academy’s website.
Today was a very exciting day at Cranbrook, with the Academy of Art Commencement taking place underneath a bright blue sky at Thompson Oval. Sixty-four students (now alumni!) were awarded their degrees. Artis Lane received an Honorary Master of Fine Arts and delivered an inspiring speech (on her 94th birthday, no less!), while Allie McGhee delivered a wonderful commencement address.
Susan Ewing, Director, speaking at the Cranbrook Academy of Art Class of 2021 Commencement, May 14, 2021 on the Thompson Oval at Cranbrook School. Photograph by Katie McGowan, CAA Photography ’22, Courtesy Cranbrook Academy of Art.
But as I sat in the newly restored bleachers of the Cranbrook School football stadium, I wondered: was this the first time the Academy’s commencement took place here, at the Thompson Oval?
A quick search in Archives revealed that, yes, it seemed to be. However, the same search revealed that graduation has taken place all around campus over the years.
The Academy dates back to 1932, but it first granted degrees in 1942. This was the same time Cranbrook Art Museum and Library opened. Early commencements took place in the Museum galleries, and, at least in the earliest years, the faculty and staff wore academic regalia.
Eliel Saarinen, President, confers degrees during the Cranbrook Academy of Art Class of 1943 Commencement, May 1943 at Cranbrook Art Museum. Courtesy Cranbrook Archives.
Other early commencement ceremonies took place in the Academy’s Library next door. The reading room tables and chairs were replaced with rows of seating for students and guests. By 1945, it appears academic regalia had been abandoned.
A rather sleepy Zoltan Sepeshy, Director, at Cranbrook Academy of Art Class of 1945 Commencement, May 26, 1945 in Cranbrook Academy of Art Library. Courtesy Cranbrook Archives.
By midcentury, as the student body expanded, commencement moved to the Greek Theatre. This remained the location for many decades, and likely where commencement will return in a post-pandemic future.
Roy Slade, President, presides over a Cranbrook Academy of Art Commencement in the early 1990s at the Greek Theatre. Courtesy Cranbrook Archives.
And of course, what do you need if you’re planning an outdoor event in May in Michigan? A rain plan! Christ Church Cranbrook serves as the inclement weather site of commencement, as seen here in 2015.
Cranbrook Academy of Art Class of 2015 Commencement, May 8, 2015 at Christ Church Cranbrook. Photograph by Chris Schneider, Courtesy Cranbrook Academy of Art.
Fast forward to 2020, where commencement existed only in the virtual sphere: on Zoom. Not quite an architecturally interesting locale!
Susan Ewing, Director, presides over the Cranbrook Academy of Art Class of 2020 Commencement, May 8, 2020, on Zoom. Available here.
And then, today, commencement moved to the football field. It was a sunny day with perfect weather and high spirits as the community gathered, safely and in person, to celebrate the achievements of the Academy students.
Cranbrook Academy of Art Class of 2021 Commencement, May 14, 2021 on the Thompson Oval at Cranbrook School. Photograph by Kevin Adkisson.
Now, scroll back up and notice one thing that stayed the same across the years: the Academy Flag! It was behind President Eliel Saarinen in 1943, and behind Director Susan Ewing today.
Today’s ceremony will be uploaded to the Academy’s Vimeo page soon. Meanwhile, there are still a few days left to see the Class of 2021 Graduate Degree Exhibition at Cranbrook Art Museum, which closes on Sunday, May 16, and you can also see the (coronavirus delayed) Class of 2020 Graduate Degree Exhibition at Wasserman Projects in Detroit through June 19, 2021.
Congratulations from the Center to the Cranbrook Academy of Art Class of 2021!
—Kevin Adkisson, Associate Curator, Cranbrook Center for Collections and Research
Not once, but twice, Cranbrook has pulled out the figurative red carpet and with appropriate fanfare welcomed Swedish royalty to its campus. Anyone who knows and loves Cranbrook might not be all that surprised by this revelation. After all, Cranbrook is a very special place—the home of dozens of sculptures by Sweden’s celebrated sculptor Carl Milles, who lived and worked at Cranbrook for twenty years, as well as many tapestries woven by Loja Saarinen’s renowned Swedish weavers. But the larger Detroit community has also boasted a significant Swedish cultural presence.
While most Michiganders might be familiar with the role that Swedish immigrantsplayed in Michigan’s Upper Peninsula mining and lumber industries, Swedes also played major roles in Detroit’s development, from the auto industry to the fine and performing arts. Not least of all were the contributions made by Milles, including his sculpture The Hand of God, which has stood in front of the city’s Frank Murphy Hall of Justice since 1970. The founding in 1963 of the Detroit Swedish Councilby Charles J. Koebel (who, decades earlier, had commissioned Eliel Saarinen to design his family home in Grosse Pointe Farms), saw a concerted effort to promote Swedish culture in the area. It was likely the unique combination of Cranbrook’s artistic works and Detroit’s vibrant Swedish community that attracted visits from Sweden’s royal family on two separate occasions.
Program for the day’s activities. Courtesy of Cranbrook Archives.
So it was that on October 26, 1972, Princess Christina of Sweden set foot on Cranbrook grounds as part of her two-week tour of the States. And sixteen years later, her brother and his wife, King Carl XVI Gustaf and Queen Silvia, followed suit on April 18, 1988. Both visits focused largely on Carl Milles’ Cranbrook legacy, directly involved the Academy of Art and Art Museum, and were the result of collaborations between Cranbrook and the Detroit Swedish Council. Yet each visit had its own unique activities and sense of purpose.
Cranbrook Kitchen Sink 