Exclusive Interview: Underground Resistance, Submerge & Alter Ego:  Discussing books, vinyl records, Detroit’s unstoppable creativity and the roots of techno music with Detroit’s own CORNELIUS HARRIS!

Exclusive Interview: Underground Resistance, Submerge & Alter Ego: Discussing books, vinyl records, Detroit’s unstoppable creativity and the roots of techno music with Detroit’s own CORNELIUS HARRIS!

Exhibit 3000 Museum (photo by: Ryan M. Place)

I love Detroit. This city is loaded with great stories, many of which are oft hidden, unacknowledged, or underreported. If not inscribed for the future, when these stories are gone, they’re gone forever, like magnificent old buildings. To me, these stories are priceless.

The building at 3000 East Grand Boulevard is sign-less and unassuming. It sits near the Jam Handy warehouse on Detroit’s Eastside, within view of the stately 30-story tall Fisher Building.

This humble 3-story brick building was built in 1910 and is 8,790-square feet. It houses a significant contribution to Detroit’s cultural history, something vital and irreplaceable, a collective of Detroit techno culture.

Exhibit 3000, the world’s first (and only) techno museum is housed here on the main floor.

In the basement is the legendary Submerge’s Somewhere In Detroit (SID) record store and then upstairs is the HQ of Underground Resistance (UR). There are also recording studios, rehearsal spaces and offices.

Downstairs, DJ John Collins and Tyler Dancer are prepping the museum for a school tour today. Collins has been a well-known DJ since 1985. He’s a producer, manager, and talent agent. Tyler is a young DJ and producer from Kalamazoo who now lives in Detroit. Techno great Mad Mike Banks is also here getting things squared away. The ethic is: everyone helps out regardless of status.

Cornelius Harris (photo by: Ryan M. Place)

I’m sitting upstairs in a conference room with Detroit’s own Cornelius Harris, who was (and still is?) the only black manager in techno music in the world. “That’s what I’ve been told.  I’m not aware of any other black managers in techno, in the world,” he says.

Cornelius Harris is the label manager of Detroit-based independent techno label Underground Resistance, an assistant at Submerge Distribution (and SID), and founder of Alter Ego Management.

Cornelius is a deep thinker with a multitude of insights and very focused on all aspects of the intersection of culture and music. We are discussing books, vinyl records, the roots of techno and all-things Detroit.

Cornelius explains:

“History, especially local history, is important to know so you understand the context of where you’re at in the world and in your own time. The impact of certain points in history have a lingering echo long after the fact.”

“I’m originally from Ann Arbor. Moved to Detroit in the 90’s. I’m not here by accident. I love the people, the culture, the history, the music.”

“I consider myself a cultural advocate and activist, promoting agents of culture beyond mere entertainment and using it as a tool for education and inspiration. I studied Media and Pop Culture at University of Michigan. My family are all educators and very passionate.”

“Economically, how do you bring this thing that came out of Detroit and generates millions of dollars globally, back to the source? I’m always interested in the next stage of evolution. Detroit is a powerful music center. How do you drive culture in the city?”

 

Detroit: The Birth of Techno

“Belleville Three” Juan Atkins, Kevin Saunderson, Derrick May. These are from Belleville High School yearbooks (circa 1980 & 1981). Kevin Saunderson also played varsity football and basketball for the Belleville Tigers. Atkins (class of ’80), May & Saunderson (class of ’82). Thanks to Psyche Jetton at the BHS Media Center for allowing me to do research there (Ryan M. Place)

“Techno music was started in the early 1980s by four African Americans: Juan Atkins, Kevin Saunderson, Derrick May and Eddie Fowlkes. The first three went to Belleville High School and Eddie went to a different school.”

“At the time, it wasn’t called ‘techno’, it was just a new, emergent form of different music. The British press came up with the title ‘Belleville Three’ even though they DJed mostly in the city of Detroit.  Belleville isn’t known for its cutting-edge club scene.”

Just like any inception-story, there’s different mythologies about this. One is the facts. The others are the added interpretations, which become the agreed upon history. So, let’s just agree to a middle understanding of all this.”

“They were playing a precursor to techno before their music was given a label by outsiders. What they had created was inner city dance music with a futuristic vibe.”

In the mid to late 80’s, techno blew up here locally in Detroit. It was already a phenomenon here for several years before it became popular globally.”

Kevin Saunderson (senior photo 1982 Belleville High School yearbook)

“All of the techno labels were based in Detroit’s Eastern Market neighborhood.”

The first one was in 1985 when Juan Atkins opened Metroplex (1492 Riopelle St), then in 1986 Derrick May opened Transmat (1492 Gratiot), then in 1987 Kevin Saunderson opened KMS next door to Transmat.”

“Derrick started referring to Gratiot Avenue as ‘Techno Boulevard’.”

“These were the days of things like Channel 62 ‘The Scene’ and the Electrifying Mojo on Detroit’s WGPR, which was the first black radio station in America.”

“We also had Duane ‘In the Mix’ Bradley on WJLB Radio.”

“We had Jeff Mills, DJ Stacy “Hotwaxx” Hale, and there was Ken Collier who played house music at Club Heaven (19106 Woodward @ 7 mile).”

“There was The Music Institute (1315 Broadway an after-hours techno club opened from 1988-89).”

“Across the river in Windsor, there was Richie Hawtin (Plastikman) who was inspired by Detroit techno. By the early 90’s, everybody was getting turned on to Detroit music all over the world.”

Techno! The New Dance Sound of Detroit (c. 1988 vinyl record)

“Music popularity goes in waves. Techno got big globally around 1991, then experienced another resurgence in the late 90’s-early 2000’s, and a few years ago we had another wave.”

“Also, we had the techno festival, which started in Detroit in 2000 and was called DEMF before it became Movement in 2006.”

“Detroit is the smallest big town ever. Among creatives here of all stripes, mostly everyone knows everyone. Some of Juan Atkins old tapes even feature Kid Rock back when he had spiky hair and was trying to rap.”

“I credit Creem Magazine with symbolizing the Detroit ethos. Not being on the East or West Coasts, we weren’t bound by those scenes. There’s no restrictions here, we’re free to do our own thing, which Creem reflected in its coverage of music. “

 

Underground Resistance (UR) Detroit

Underground Resistance

Underground Resistance, aka: UR, is a collective, that’s the best word to describe it because there’s so much back and forth flow between the various groups and producers.”

“UR was started in 1989 by Jeff Mills and Mad Mike Banks in Mike’s mom’s basement on Detroit’s Westside near 7 Mile and Livernois. Mike and Jeff worked together before in a group called Members of the House. Mike had at one time been in a band on tour alongside Parliament Funkadelic.”

“The UR album UR001 had Yolanda Reynolds on it. She was the original third member of UR. A lot of people think of Robert Hood as the third member of UR, but he came later, though a lot of people forget that.”

“In 1991, the city of Berlin, Germany was hit by UR’s music from Detroit not long after the Berlin Wall came down. Detroit’s techno music helped unite the young people of East and West Berlin and reenergize the city. It was the soundtrack of what was happening in Berlin. And there were tons of Detroit techno records at the Hard Wax store owned by Mark Ernestus.”

Terrence Parker (photo courtesty of UR)

I joined UR in the mid 1990s. The Detroit Regional Music Conference, started by DJ John Collins, was going on and I was a producer at the time. I submitted to perform at the conference. The music showcase manager said I should give my tape to Mike Banks, which is how we met. I also had put together a zine called SCENE. Mike and Lawrence Burden asked me to work with them doing promotion. Mike later asked about me doing label management. I did it until 2001 when I became extremely burned-out.”

“I quit everything for a bit and became anti-music for a few years. Did some management at Kinney Shoe Corp (Foot Locker), then Kinko’s, also did some teaching at a middle school. Eventually, I created Alter Ego Management and started again fresh. Alter Ego used to rep Juan Atkins, Model 500 and others. Right now we handle UR and some others.”

“At the time just before starting Alter Ego I, got a call from Mike. He said they’re working on a project in Japan. He invited me to come work on it, and initially I said, “no,” but he said ‘they got those thinking gardens in Japan, you could just come here and think’ (laughs). I was in the middle of acting in a show with Plowshares Theater. Mike was insistent. So I went to Japan. I was there for six hours and decided to return as label manager in 2005.”

“My first time as a tour manager, through the Burden Brothers (Lenny & Lawrence), was a tour in Germany. I was tour manager for Aux 88 who was on their label Direct Beat.”

“I remember being in Berlin outside this club talking to a local dude, told him he should come check out the scene in Detroit. He said, ‘I’ll never go to Detroit.  I don’t make enough money to travel, but when I go to this club and it’s dark, and a Detroit DJ is playing, I can imagine that I’m in a Detroit club. That’s how I’m able to travel’. His explanation really stuck with me.”

“I realized that we’re giving people, people who are willingly giving their hard-earned money to us, these one-of-a-kind experiences. We owe everything to these people who make that choice to support the music. It really had a profound effect on me, gave me a sense of purpose.”

“For some people, music is their main outlet. It’s a type of therapy, a release for them, something they can’t get any other way. We all owe a deep appreciation for the fans who live on this stuff.”

“The clubs are social spaces where amazing things can happen. The 1980’s were rough in Detroit. The U.S. was in a bad recession, there was crack, AIDS, Detroit was dubbed ‘Murder Capital of the World’, the auto industry went to hell, etc. The one good thing at the time coming out of Detroit globally was this music, techno.

“These aren’t just DJ’s, they’re cultural ambassadors. They are some of the best representations this country has ever had, often better than professional diplomats. They tour extensively and as a result, acquire a broad perspective and deep understanding of other cultures and people around the world.”

Jeff Mills currently lives in Miami, France and Japan. In 2017, Jeff got the Order of Arts and Letters in France, which is that country’s second highest title, for his cultural contributions. Other nations seem to recognize the importance of creativity. The city of Detroit, our state, our nation, should consider providing more recognition to their own people. Why do we gotta go to France to get awards and be recognized? Why can’t it happen right here where it all started and continues to thrive? It would uplift the community in a positive way.”

Detroit’s global contributions are numerous. Back here at home, true community development is not just giving money to something and hoping for the best. Things need to be nurtured, cared for, and given the proper attention in order to develop.”

Submerge Distribution

Submerge (photo by: Ryan M. Place)

Submerge Distribution was founded in 1992 by Mike Banks and Christa Robinson.”

“It was originally located Downtown at 2030 East Grand River Ave. However, in 2000, we moved to 3000 East Grand Blvd.”

“Submerge exports Detroit techno labels to Europe and the world and transmits Detroit’s techno music around the world. All the techno and house labels went through Submerge.”

“There is no ‘Submerge Records’, it’s a distributor and vinyl record store. We carry all kinds of records but primarily specialize in techno, house and hip hop. Heavily Detroit oriented. There’s also Basic Channel out of Berlin.”

“Submerge even put out J. Dilla’s first vinyl record in 1994.”

“Everybody who visits the Submerge basement signs the wall.”

The Impact of Books on Cornelius

Cornelius Harris (photo by: Ryan M. Place)

I love to read. Books are powerfully influential across all cultures, professions, whatever. Books are windows into the unfamiliar. Having a broad interest in a lot of different things gave me the perspective I have today.”

“Prior to music, I worked in the reference department at the downtown Ann Arbor Library from 9th grade through my time at the University of Michigan. First shelving books, then at the desk as an assistant. I grew up surrounded by books. A lot of my interpretation of the world was formed by books and music.”

“Here’s a few of the key books that have inspired me over the years.”

Black Magic (1967) Langston Hughes

Black Magic (1967) Langston Hughes. Chronicles black entertainment from slavery to the modern late 60’s. Amazing as a kid growing up with that book. It traces the painful lineage of exploitation as well as incredible achievements.”

Sex and Race (1940-44) J.A. Rodgers (3 vols.) I first read it at the public library when I was 10 or 11. Originally was excited by the name (laughs). Turned out to be a fascinating study of racial classifications, how people mix and blend and the fact that definitions of race are subjective.”

Dustland (1980) Virginia Hamilton. It’s part of The Justice Trilogy about an African American girl named Justice. First time I ever read sci-fi where the central characters were African American. It blew my mind.”

No-No Boy (1956) John Okada. The first Japanese American novel. It takes place just after WW2, it’s about Japanese no-no boys and post-war trauma in the USA.”

Los Arboles Mueren de Pie (1949) Alejandro Casona. Amazing book, written in Spanish. I recommend learning Spanish just to read this book. It’s about how you define family. Magical realism. Many intriguing twists and turns.”

Mumbo Jumbo (1972) Ishmael Reed. Magical realism about historical events and a contagious epidemic of the Jes Grew virus.”

New Teen Titans: The Judas Contract (1988) Wolfman and Perez (DC Comics, Titan). They took this medium and crafted a story so thoughtful, warped, exciting. It’s about betrayal and abuse.”

 

Some Favorite Records & Why Vinyl Still Matters

Cornelius Harris @ Submerge (photo by: Ryan M. Place)

“Musically, I listen to a range of different things. Grew up on jazz and gospel. My grandma from the had grown up in the South and turned me onto Hank Williams.”

“Some influential albums for me are:”

Prince-Dirty Mind (1980)

Jorge Ben-Samba Esquema Novo (1963)

Grace Jones-Nightclubbing (1981)

Ryuichi Sakamoto-Merry Christmas, Mr. Lawrence (1983)

Vinyl records still matter, still sell, still elevate the listener. There’s something special and different with something being tangible, rather than bits of information on a computer. To feel the grooves with your fingers. It’s an experience, you feel more connected. With vinyl you have to put the needle on it, make sure the needle is clean, flip it over when it’s done, you interact with it differently than you do a playlist on your smartphone.”

“Also, the order of the tracks meant something, not just random shuffling. Tracks are not just thrown onto an album indiscriminately. There’s a meaning in the order.”

Jorge Ben-Samba Esquema Novo (1963)

The Need to Preserve Creative Spaces in Detroit

Detroit aerial (photo courtesy of Formulaone)

Detroit needs more creative spaces. The value of the creative community to a city cannot be overstated. Creative people imbue spaces with value. And they almost always need help from the city to mitigate things like gentrification and help maintain safe and fun spaces & outlets, for other people to go and experience the gift of their creativity. There should be a low barrier to entry.”

People have had their life changed forever by music or art. Creativity keeps people in neighborhoods and stabilizes communities. Make it easy for people to access these things.”

“Right now, Detroit is a place where the creative community can go in any direction. As a city, we need to recognize talent and creativity and help engage creative types. Yet some of our greatest spaces are being ignored and disregarded. Detroit is loaded with iconic spots that should be preserved and used instead of being wasted unnecessarily. How do you set things up for success?”

“Listen, I’ve traveled all over the world for the past almost thirty years and I can honestly tell you that Detroit is a global nexus of untapped, undiscovered potential. It’s here but it’s disguised because it’s not often officially recognized by big-time funding.”

“We have the spaces, we’re just not doing anything with them, not making them accessible, and it’s a tragedy that’s rarely discussed. These places will get torn down and most folks, especially young folks, won’t ever even know they were there in the first place. We need to preserve them and do everything we can to drive more creative people to the city.”

The world is saturated with creativity in all forms from Detroit. I remember when I was in Japan, a promoter told me at the time he couldn’t book one of my DJs because Japan had too many people from Detroit there! (laughs) That’s how big and powerful our footprint as a creative class of people is globally.”

We’re givers not takers.  We give the world our creativity, but I don’t think we take enough a lot of times and it shows because it seems there’s always a financial struggle here for everyone. Culture comes from the incredible wonderful, people here. The people are the value. They should be embraced.”

Thoughts on The Future

Submerge (photo by: Ryan M. Place)

“I don’t worry about the future of techno.  It will evolve.  Musical, creative diversity has to be encouraged. Stuff that doesn’t exist currently will be born and become transformational. Music is a reflection of that generation, that time, what’s happening globally and locally.”

“There is an undeniable need for space and a need to encourage openness. Hopefully Detroit will continue being at the forefront like it always has been. Don’t be afraid of the future. Yes, things will be strange and different than what you’re used to right now, and that’s a good thing.”

“Just remember, Motown was started by high school kids singing in their garages. They were broke but they were passionate and creative. However, what really changed everything was love from the local community. The community was supportive and encouraging. Local support helped them thrive globally. Never forget the enduring and positive lesson of Motown.”

Bonus: Cornelius’ favorite eateries in the Metro Detroit area

Pupuseria y Restaurante Salvadoreno (3149 Livernois, Detroit)

Yum Village (6500 Woodward, Detroit)

Royal Kabob (3236 Caniff, Hamtramck)

KG’s Grill (465 Inkster rd, Garden City)

Al Ameer’s (27346 Ford Rd, Dearborn Heights)

Cornelius Harris @ Exhibit 3000 Museum (photo by: Ryan M. Place)

 

UR, Submerge & Exhibit 3000 Museum

3000 East Grand Blvd.

Detroit, MI 48202

 

Exhibit 3000 Museum

For free tours or if you want to donate early techno artifacts

Contact:

John Collins

jcpremier@gmail.com

Cornelius Harris

cornelius@alteregomgt.com

 

UR

http://www.undergroundresistance.com/

 

UR FB

https://www.facebook.com/URundergroundresistance/

 

Somewhere in Detroit (Submerge)

https://www.facebook.com/Somewhere-in-Detroit-242400282479827/

 

Alter Ego Management

http://www.alteregomgt.com/

Submerge (photo by: Ryan M. Place)

 

Submerge (photo by: Ryan M. Place)

Win a FREE Autographed Copy of ‘The Early Years of McFarlane Toys’ signed by author PAUL BURKE!

Win a FREE Autographed Copy of ‘The Early Years of McFarlane Toys’ signed by author PAUL BURKE!

Asylum Publications

*Special thanks to Paul Burke and Asylum Publications for this*

We are raffling off 3 autographed copies of ‘The Early Years of McFarlane Toys‘ signed by author and co-founder Paul Burke!

*3 winners will be selected at random. Enter now for your chance to win!*

https://detroitbookfest.com/enter-to-win/

The raffle will run from Monday, October 14 to Sunday, October 20.

Asylum Publications

Asylum Publications is a new publishing company located in Metro Detroit. Owned by serial entrepreneur Paul Burke, Asylum is slated to publish 100 titles by Summer 2020.

One of their most recent offerings is a beautifully rendered book called ‘The Early Years of McFarlane Toys‘.

Paul Burke worked closely with Todd McFarlane to co-develop McFarlane Toys and he has created a book about the unusual and ever-interesting twists & turns in bringing this multi-million-dollar toy company to life.

At the time, Paul was Co-founder / co-CEO / Vice Chairman of TMP International, which McFarlane Toys was a division of and, fun fact, they also had a partial ownership stake in the Edmonton Oilers NHL hockey team.

Image courtesy of Spawn

McFarlane Toys started in 1994 as Todd’s Toys, after they detached from Mattel and became independent. They quickly became the world’s 4th largest toy company and the largest US action figure company in Japan.

McFarlane Toys originally made Spawn action figures based on Todd’s comic book series called Spawn. After those were wildly successful, they started producing other general horror, movie and sports figures.

Span logo courtesy of Spawn

Fun Fact:

The Spawn comic book series just received a Guinness World Record for issue 301, making it the Longest Running Creator-Owned Comic Book in history.

‘The Early Years of McFarlane Toys’ is a fascinating book which you will enjoy immensely.

 

Biography of Paul Burke 

Paul Burke (left) and Jack Faragasso (right) at Jack’s apartment in Manhattan NYC

Paul Burke is a well-known behind the scenes serial entrepreneur and financier whom typically does business on behalf of creators and artists.

Paul currently lives in Metro Detroit but has lived and traveled all over the world for business.

He has been a businessman for five decades and was involved in the management of rock band KISS in the 1970’s and even went on to found his own music publishing company, Stabur East Music / Can-Am Music, Inc.

In 1983 he got out of management and into publishing when he founded Stabur Graphics / Stabur Press publishing companies.

Stabur worked with some of the top cartoonists in the world and published several high-quality books, art prints, specialty books, books for Disney, Rocky Horror Picture Show, etc, until eventually merging with Caliber Comics, a company owned by his pal Gary Reed.

Among many other endeavors, Paul co-founded and was chairman of an automotive design and fabrication company, Blue Fusion, which became the 44th Global Tier One supplier to Ford Motor Company.

He re-organized a security mapping and documentation company for the Department of Homeland Security (DHS).

And he formed a company to advise private equity firms, EverGreen Capital Management and The Gores Group.

Stabur Home Video ‘Comic Book Greats’ (image courtesy of Stabur)

Over the years, Paul has interfaced with an impressive cross-section of pop-culture titans ranging from Stan Lee to Mad Magazine (Jack Davis and Bill Elder) to Bob Guccione (Penthouse) and others.

Paul Burke and Stan Lee even co-produced a 13-episode video series called ‘Comic Book Greats‘ from 1991-1992 for Stabur Home Video.

Paul also co-developed Deadworld Zombie Soda with Gary Reed. It started as a fun novelty joke, but sales unexpectedly took off and it became internationally popular.

Deadworld Zombie Soda (image courtesy of Deadworld)

Paul is currently involved with Asylum Publications, Source Point Press, Binary Press, and more.

Asylum Publications is scheduled to bring a number of books to market in all facets of pop culture, including publishing the fine art of 91-year-old Jack Faragasso, renowned New York artist and educator, in a follow-up to his ‘Early Photographs of Bettie Page’ book.

Asylum is working to make people aware of this great artist who has devoted his life to art, through a series of books and prints.

Dedd Fredd holding bottle of Asylum Zombie Soda (image courtesy of Asylum)

 

Asylum Publications

https://www.asylumpublications.com/

 

Source Point Press

http://sourcepointpress.com/

 

Binary Press

https://www.facebook.com/binary.press/

 

McFarlane Toys

https://mcfarlane.com/

 

*Special thanks to Paul Burke and Asylum Publications for this*

We are raffling off 3 autographed copies of ‘The Early Years of McFarlane Toys‘ signed by author and co-founder Paul Burke!

*3 winners will be selected at random. Enter now for your chance to win!*

https://detroitbookfest.com/enter-to-win/

The raffle will run from Monday, October 14 to Sunday, October 20.

 

Stabur Home Video ‘Comic Book Greats’ (image courtesy of Stabur)

 

Asylum Zombie Soda (image courtesy of Asylum)

Exclusive: Touring the Detroit Institute of Art’s Research Library & Archives with Director MARIA KETCHAM!

Exclusive: Touring the Detroit Institute of Art’s Research Library & Archives with Director MARIA KETCHAM!

Detroit Institute of Arts (photo by: Ryan M. Place)

The Detroit Institute of Arts (DIA) is a 134-year old Detroit institution.

Founded in 1885, the DIA relocated to its present location in 1927.

Over 65,000 works of art, subdivided into 100 galleries, are spread throughout the 3-story, 658,000-square foot building, which, being made of white Montclair Danby marble streaked with gray veins from Vermont, exudes a very regal vibe.

Attached to the rear of the DIA is a beautiful 1,100-seat theater called the Detroit Film Theatre (DFT).

I’ve watched dozens of great films here over the years: Breathless, The Killing, Sweet Sweetback, Dolemite, Gimme Danger, etc.

Also behind the DIA, is the best place to park your car, the John R parking lot (5290 John R Street) where you can park all day for only $7.00 per car.

DIA Rodin (photo by: Ryan M. Place)

Walking around to the front, you’re greeted by a version of Rodin’s The Thinker, a 12,000-lb. bronze sculpture of a contemplating man lost in rapturous thought, which beautifully sets the tone for your DIA visit.

Once inside, you check in and pay the fee or, thanks to the tri-county millage (property tax), if you live in Wayne, Oakland or Macomb Counties, you can enter for free any time you want.

As you pour yourself into the uniquely shaped cup of the DIA with its vaulted ceilings and mesmerizing sweeps of grandeur, you are immediately absorbed into a quasi-alternate dimension of one of the greatest art museums in the United States.

DIA Detroit (photo by: Ryan M. Place)

Being at the DIA is very inspiring. You’re surrounded by gorgeous art and this immersion does something positive to your mood, attitude and thoughts.

Waltzing through grand hallways and great rooms, you encounter Egyptian mummies, Hindu sculptures, ancient Sumerian statues made of diorite, William Randolph Hearst’s collection of suits of armor, Diego Rivera’s entire room of Detroit Industry murals, and thousands upon thousands of paintings.

The paintings include Van Gogh’s 1887 Self-Portrait, the first Van Gogh painting ever purchased by an American museum, which the DIA smartly acquired at auction in 1922.

Van Gogh-Self Portrait (1887) DIA

 

DIA Research Library & Archives: 191,000 Volumes on Tap

Maria Ketcham @ DIA Research Library & Archives (photo by: Ryan M. Place)

In the North Wing, on the 3rd floor, the Kirby Street side, lays one of the hidden gems of the museum, the DIA Research Library & Archives.

I myself was unaware of the existence of this incredible resource until a recent BCD tour, thanks to Frank Castronova, DIA functionary and president of The Book Club of Detroit.

The library is open Monday-Friday, 9 a.m. to 5 p.m. by appointment-only.

DIA Research Library & Archives (photo by: Ryan M. Place)

It consists of the lovely Reading Room (open to the public) with its row of skylights and book elevator (aka: 1970’s-era dumbwaiter) & the Mezzanine Stacks (closed to the public), a secret sub-level between floors 2 and 3 where thousands of books are held. People can discover and request materials from the stacks via the online catalog.

I’m here meeting with Maria Ketcham.

She is the Research Library, Archives & Collection Information Director and has graciously agreed to subject herself to a kaleidoscope of questions and give yet another tour.

DIA Research Library & Archives (photo by: Ryan M. Place)

Maria explains:

“Here at the DIA Research Library & Archives, we have 191,000 volumes, 100 journal subscriptions, thousands of bound periodicals and auction catalogs, and 7,000 cubic feet of archival materials.”

“In comparison to other libraries worldwide, about 30% of our collection is considered rare or unique to our institution.”

“Some of our archival holdings include thousands of photographs, blueprints, slides, color transparencies, oral histories, recorded lectures dating back to the 1970s, the business papers of former directors & curators, and an amazing collection of reel to reel recordings of our LINES poetry series (1980-1991) and our Jazz at the Institute series (1977-1987).”

“Our most popular requests are for information on the Diego Rivera Detroit Industry murals, the For Modern Living (1949) Exhibition, and Dragged Mass (1971) Michael Heizer.”

“We also have thousands of Artist Files, which are manila file folders containing news articles, ephemera, small exhibition catalogs, anything less than 30 pages long, about a particular artist and are especially useful for research on local artists. These are in our online catalogue as well as in WorldCat, the world’s largest online network of libraries.”

DIA Research Library & Archives (photo by: Ryan M. Place)

The Archives serves the museum as a repository for anything DIA-related that has enduring historic value. We’ve begun digitizing some of our archival materials and early DIA Bulletins, exhibition catalogues and finding aids, which can also be found in the DIA Research Library online catalog.”

Some university professors bring their classes here on tours and we also represent at conferences and events.”

“On average, we get about 1,200-1,500 requests per year, mostly via phone or email from all over the world. Many researchers find us via WorldCat. And since this is a noncirculating reference collection, depending on the size of their request, we can often help researchers remotely, such as emailing them scans of relevant materials for their reference.”

“We get visitors from all over the world. We even hosted Japanese royalty when Princess Akiko from Japan visited last summer.  We were very honored that she chose to spend some of her time at the DIA with us in the library.”

Our library is in the top 10 largest museum libraries in the USA. The largest is the Getty Research Institute, which is the Getty Museum library. They have over 1 million books and 100 librarians. Some other large ones are The Met, Philadelphia, and Nelson Atkins.”

 

Quick Biography

Maria Ketcham @ DIA Research Library & Archives (photo by: Ryan M. Place)

“I’m a native Detroiter. I grew up on the Northwest side near Joy and Southfield. A product of the Detroit Public School system, I attended Renaissance High School, then graduated from Wayne State University with a Bachelor of Fine Arts in Photography and later a Masters in Library and Information Science with a concentration in Archives.”

“Before coming to the DIA, I was an Archivist for Ford Motor Company. I used to live in the Alden Park Towers on the riverfront for several years. The “new Detroit” has changed drastically since I’ve lived here. It’s exhilarating.”

DIA Detroit

I have a library family. My husband is a librarian at a local public library. My two sisters are also librarians. One is a children’s librarian in California. The other is a senior medical informationist at a university medical school.”

I started working at the DIA in 2001 as the reference librarian. In 2003, I was laid off. Came back in 2005 and I’ve been here ever since.”

“I’m the only full-time employee overseeing the Research Library & Archives. James Hanks is our part-time archivist. We have 2-3 interns at a time, usually grad students in the process of earning their Masters of Information Science.”

The DIA Library is a True Community Resource

DIA Research Library & Archives (photo by: Ryan M. Place)

Being a Librarian and Archivist is all about connecting people with information and being able to manage that information in a way to make it as accessible as possible. We acquire materials, provide access to the public, create indexes and inventories and more. Our mission is preservation for future exploration.”

The DIA has 7 curatorial departments. We support museum staff including curators, conservators, and educators, helping them obtain the research materials they need for their respective research projects.”

“We interface with a lot of people. We get information requests from institutions, artists foundations, big auction houses (Christies and Sotheby’s) about things like exhibition installation photos, fact-checking, etc. We assist where we can with research on artists, exhibition history, and provenance, which is tracing the ownership history of artwork.”

“We frequently get questions from people who have a piece of art they’ve inherited. We might be able to help them with biographical information on the artist and sometimes exhibition history, but we are unable to do valuations. The Appraisers Association of America can direct you to a qualified appraiser near you. There’s also DuMouchelles auction house in Downtown Detroit. These are just a couple of suggestions from the list on our FAQ page

Maria Ketcham @ DIA Research Library & Archives (photo by: Ryan M. Place)

“Not many people know this but the DIA has about 700 puppets, it’s one of the largest puppet collections in the United States and one of our special collections here at the library is the papers and books of legendary local puppeteer, Paul McPharlin.”

“We also have a collection of Albert Kahn’s personal books. Lawrence Tech has the larger part, which is housed in its own dedicated room at their library.”

“In terms of new acquisitions, we acquire roughly 700-1,000 books per year.”

“We purchase books from a restricted fund. On average, I purchase 10-15% of the books, which are usually recommendations from the curators. The others are donated to us by institutions, private owners, galleries, and other museums.”

“Our older books are still catalogued in Dewey. Everything else is Library of Congress style classification. Our interns help update access to these older books in our collection by conversion cataloging to LoC.”

Maria Ketcham @ DIA Research Library & Archives (photo by: Ryan M. Place)

“As an example of our books, we have Verdute di Roma (Views of Rome) from the Venetian engraver, Piranesi.”

“Published in 1835, this is a beautiful 29-volume set of over-sized folios, featuring etchings produced from his original plates, including his Imaginary Prisons series (La Carceri d’Invenzione). This was gifted to the DIA by the estate of former Michigan senator James McMillan in 1905.”

“And yes, in addition to digital offerings, we also still have the old index card catalogs.”

Piranesi’s Views of Rome @ DIA Research Library & Archives (photo by: Ryan M. Place)

Piranesi’s Views of Rome @ DIA Research Library & Archives (photo by: Ryan M. Place)

Maria’s Final Thoughts for Now

Maria Ketcham @ DIA Research Library & Archives (photo by: Ryan M. Place)

“I really enjoy working with all the different people, the curators, researchers, general public, giving tours, etc. As much as I think I know as a librarian & archivist, I find there’s always more to learn.”

“The challenges are coming up with creative ways to use what resources we have. There’s also so many hidden parts of the collection. I’d like to make them more well-known and help people discover something new, something they didn’t even know they might be interested in.”

“For about 90 years, the DIA used to have an annual Michigan Artists Exhibition. It stopped in the early 90’s due to financial difficulties. I wish the DIA would bring it back.”

“At some point, we might start a Friends Group for the DIA Research Library & Archives. I would like that very much.”

“This work keeps me busy. I still have about 200 boxes of books to sort through and catalog. This work is thoroughly enjoyable, I love it. Come visit us sometime and explore the collection.”

Detroit Museum of Art, aka: the original DIA Building (image courtesy of DIA Research Library and Archives)

Donate your books

 

The DIA selectively accepts donations of art and art history books & associated materials.

Contact

libraryadmin@dia.org

 

DIA Research Library & Archives

3rd floor

Monday-Friday (9 a.m.-5 p.m.)

Open by appointment-only

(313) 833-3460

libraryadmin@dia.org

 

Diego Rivera’s Detroit Industry Murals @ DIA (photo by: Ryan M. Place)

 

Homepage

https://www.dia.org/art/research-library

 

WorldCat

https://www.worldcat.org/libraries/46836

 

ArchiveGrid

https://researchworks.oclc.org/archivegrid/?q=contributor:7141&sort=title_sort+asc&limit=100

 

Map of the DIA

https://www.dia.org/sites/default/files/map-dia.pdf

 

Become a member of DIA

https://www.dia.org/membership

 

When visiting the DIA, what eateries are within walking distance?

 

Kresge Court (inside the DIA)

Located on Level 1, this beautiful eatery is designed like an open-air Italian medieval palace courtyard. They have coffee, wine, beer, liquor, sandwiches, salads, etc.

Try the Woodward Avenue Sandwich.

Hours: Tues-Thurs 9am-3:30pm, Fri 9am-9:30pm, Sat-Sun 10am-4:30pm

 

Kresge Court inside the DIA (photo by: Ryan M. Place)

Kresge Court inside the DIA (photo by: Ryan M. Place)

Kresge Court inside the DIA (photo by: Ryan M. Place)

Outside of the DIA are:

 

Wasabi (15 E. Kirby, ste E) This Japanese-Korean spot is one of Maria’s personal favorites. Try the sushi and bibimbab.

Chartreuse (15 E. Kirby, ste D) Try the Cap steak and Madagascar vanilla pudding. Make sure you check the hours before coming.

Shields Pizza (5057 Woodward Ave) Try any of the pizzas and the dry rub wings.

Tony V’s Tavern (5756 Cass Ave) Try the pesto artichoke pizza and Tony V’s club sandwich.

Socratea (71 Garfield St, ste 50) Try the Moroccan mint tea.

Common Pub (5440 Cass Ave) Try the duck fat fries and the fried chicken.

Seva (66 E. Forest Ave) try the yam fries and the sweet potato quesadilla.

 

Bruegel the Elder-The Wedding Dance (1566) DIA Detroit

Copley-Watson and the Shark (1782) DIA Detroit

DIA Research Library & Archives (photo by: Ryan M. Place)

DIA Research Library & Archives (photo by: Ryan M. Place)

DIA Research Library & Archives (photo by: Ryan M. Place)

DIA Research Library & Archives (photo by: Ryan M. Place)

DIA Research Library & Archives (photo by: Ryan M. Place)

Piranesi’s Views of Rome @ DIA Research Library & Archives (photo by: Ryan M. Place)

Piranesi’s Views of Rome @ DIA Research Library & Archives (photo by: Ryan M. Place)

view from 3rd floor, DIA Research Library & Archives (photo by: Ryan M. Place)