{"id":75321,"date":"2026-11-02T14:20:31","date_gmt":"2026-11-02T19:20:31","guid":{"rendered":"https:\/\/www.thebookbeat.com\/backroom\/?p=75321"},"modified":"2026-11-02T14:54:43","modified_gmt":"2026-11-02T19:54:43","slug":"nightcrawlerz-and-the-armory-show-revisited-by-cary-loren","status":"publish","type":"post","link":"https:\/\/www.thebookbeat.com\/backroom\/2026\/11\/02\/nightcrawlerz-and-the-armory-show-revisited-by-cary-loren\/","title":{"rendered":"Nightcrawlerz and the Armory Show revisited by Cary Loren"},"content":{"rendered":"
\n

Nightcrawlerz & The Armory Show<\/h2>\n

by Cary Loren<\/strong><\/p>\n

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Cary Loren: Postcard announcement for The Armory Show, The central doll and chair were chosen from objects in Cay Bahnmiller’s studio. The sculpture on the left is by Barry Roth. The sculpture on the right is by Gordon Newton. Background painting by Bahnmiller.<\/p><\/div>\n

On January 2, 2006, Book Beat opened The Armory Show: A Group Exhibition<\/em>, without an opening reception. That same year, MOCAD opened its doors in the repurposed shell of an auto dealership. The Book Beat exhibition was a playful nod to the infamous 1913 New York City exhibition of nearly 300 artists, associated here with the arrival of modernism, Cubism, and Dada in the United States. At Book Beat, five Detroit artists\u2014Bill Rauhauser, Gordon Newton, Cay Bahnmiller, Barry Roth, and Cary Loren\u2014bridged constructivism, assemblage, and collage into a connective map of Detroit art. Roth and Loren exhibited together as the Nightcrawlerz collective.<\/p>\n

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Bill Rauhauser: Temples and Tombs series, late 1970s, from the catalog Nightcrawlerz #23<\/p><\/div>\n

Artists and the City<\/h2>\n

Bill Rauhauser first displayed his Temples and Tombs<\/em> photo series in the 1970s at Pierce Street Gallery in Birmingham, Michigan. The series followed his conceptual fine artwork in the Object Series<\/em>. Using common materials from hardware stores and found junk from around his house, Rauhauser created models of an architectural fantasy\u2014a utopian city of high-contrast monuments and cityscapes. He painted the materials white, assembling his strange buildings on a tabletop in his basement, and photographed them against a black background.<\/p>\n

The stark high-contrast objects and flat lighting made the images appear futuristic. Rauhauser, who taught photo-history classes at CCS, was an influential figure for many Detroit-area photographers. His best-known work emphasized the contemporary straight image, and was firmly centered in street photography. His surreal tabletop work was nearly unknown\u2014and exhibited only once at a small gallery. Rauhauser\u2019s imaginative <\/p>\n

work gave the exhibition an architectural framework, connecting with the other artists through shared ideas of urban form, experiment, and regional identity.<\/p>\n

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Gordon Newton: Untitled Drawing, The Old Church Window series, 2005, from the catalog: Nightcrawlerz #23<\/p><\/div>\n

Gordon Newton was a leading sculptor and assemblage artist at the center of the Cass Corridor arts movement\u2014a bricoleur who creatively sought out new ideas and worked a variety of techniques into his practice. The Old Church Window<\/em> (Kirkstall Abbey<\/em>) series contained small paintings on single pages taken from a stenographer\u2019s notebook. He worked with enamel, oil sticks, and crayon into a mass of shiny black with small squares of blue and many had a red heart near the center. They seemed like silhouettes of a city at night, mysterious maps of urban landscapes or aerial blueprints\u2014projections from above. Newton commented that they were based on a ruined 11th century church in England he had read about but never saw. Newton was a voracious reader of fiction, especially suspense thrillers from England, and the paintings might also be connected to a fictional world.<\/p>\n

Contrasting the dark paintings was another series by Newton titled Snowflakes in Pisces Moonlight<\/em>. These were small, layered sculptures made from foam core and cardboard, cut into star and snowflake shapes, painted, and hot-glued into ladders and ovals. He explained the ladder motif as his way to climb into Bahnmiller\u2019s heart\u2014and spoke of the works in sexual terms. Like his earlier glass diving-board series, these were mysterious creations of Newtonian physics. His Snowflake<\/em> sculptures could also be read as sexualized clockworks. Newton encased each sculpture in a handmade Plexiglas box, sealing its contents. The reference to Marcel Duchamp\u2019s Large Glass<\/em> was hard to miss.<\/p>\n

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Cay Bahnmiller: Untitled Self Portrait, late 1990s<\/p><\/div>\n

In 2003, Cay Bahnmiller was featured in a sprawling solo retrospective at Susanne Hilberry Gallery in Ferndale. Her works filled the space. Many of her collages were landscapes of the city, composed of found urban objects. One table held hundreds of painted cards and small books, each thick with paint and short literary quotations or poems painted or pasted on one side. These index-card-sized pantings were a unique peak inside the artists’ mind.<\/p>\n

Some of the works from Hilberry were displayed again in The Armory Show<\/em>. One small wooden sculpture included a hidden knife\u2014an allusion to a violent rape Bahnmiller experienced in the early 1990s. Above the knife was a painted odalisque. Early in the show, after I bought the work, she demanded it be returned so she could “finish” the work. When the work came back to the gallery Bahnmiller had smeared out the nude figure.    <\/p>\n

A large masterwork begun soon after her rape, Der Imker (The Beekeeper) <\/em><\/a>was purchased by the Detroit Institute of Arts, made possible by a large donation from Gil Silverman. Dozens of objects and clues to her life in Detroit, her literary interests, and the focus and drive of a creative and obsessive artist are literally embedded throughout Der Imker<\/em>.  <\/p>\n

There was an elegant chaos to Bahnmiller\u2019s work, and I decided to choose an object from her studio to photograph for the gallery announcement. I picked out a small furry stuffed creature that seemed half ape-like and clownish. The doll sat on a small modernist chair, also from Bahnmiller\u2019s studio. One of its plump rubber-gloved hands rested on a spray-painted sculpture by Roth, and the other was on top of Newton\u2019s Snowflake<\/em> sculpture. A large golden canvas by Bahnmiller became the backdrop.<\/p>\n

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Cay Bahnmiller: Untitled Sculpture with Odalisque circa 1990s\/ 2003<\/p><\/div>\n

Roth created a show catalog titled Nightcrawlerz23<\/em>, which was also a website that archived the work from the gallery and more. A poem by Roth was reprinted in the catalog, a manifesto titled \u201cBeatniks of the New Century\u201d:<\/p>\n

We combine plots, a relentless pursuit glimmering of an earlier identity
\n\u201cLittle Wing\u201d Through an invisible boundary of darkness escaping
\npatriotism, estranged and inappropriate.<\/p><\/blockquote>\n

In the early 1990s, Roth adopted the scanner as a tool to create art, using it as a view camera. This became part of the Nightcrawlerz practice\u2014passing collaged and shared images onto the glass plate. This echoed back to the early fax technology and Xerox machine. This was a no-cost, nearly automatic process we used to break into reality. The scanner could represent three-dimensional qualities and scatter light in unpredictable and distorted ways. Experiments were made using different materials to see how the technology would respond. The scanner offered instantaneous feedback, similar to the era of Xeroxed collages.<\/p>\n

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Barry Roth: Scanned image and catalog cover for Nightcrawlerz #23, 2005<\/p><\/div>\n

The Armory Show featured several small sculptures by Roth, spray-painted cardboard, and small wooden-block collages painted in primary colors. His photos included enigmatic technological landscapes related to his \u201cRooster Tray\u201d and Kabbalah series, framing photographs and objects inside developer trays\u2014collages with a unique mystical iconography.<\/p>\n

The exhibition showed how an architectural language was shared by the group. In Rauhauser and Newton\u2019s work, the artwork formed maps, blueprints, and foundations\u2014the skeleton, roots, and bones of urban life. For Bahnmiller and Nightcrawlerz, their works represented an outer layer of the city, the cultural refuse of the surface. The Nightcrawlerz scans, faxes, and zines broke down images, words, and the page, seeing them anew, and recording what Mallarm\u00e9 discovered in Un coup de d\u00e9s<\/em>\u2014a text of impressions and music, and a poetry of space and chance.<\/p>\n

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Nightcrawlerz: various pages from artist books published 1981-1985<\/p><\/div>\n

A Short History of Nightcrawlerz<\/h2>\n

When Barry Roth was a professor of photography at Wayne State University in the late seventies, I met him there as a student. Our first collaboration began around 1981 when we briefly shared a rental house in Berkley, Michigan. The first Nightcrawlerz work began as recording experiments and quickly extended into zine making, poetry,sculpture, photo-scans, and music. In 1999 we issued a collection of music and poetry as Nightcrawlerz: The Third Mind 1981\u20131990<\/em>, the name lifted from the Brion Gysin \/ William S. Burroughs collaboration The Third Mind<\/em>, a book about cut-ups and theory which became a kind of reference manual for us.<\/p>\n

The Armory Show was a chance to collaborate once again, to exhibit new scans and formalize a gathering within the frame of our local avant-garde.<\/p>\n

In 2009, the Destroy All Monsters collective exhibited its archive as Hungry for Death<\/em>, curated by James Hoff and myself\u2014an exhibit that premiered at Printed Matter in New York City and toured overseas. The exhibition included rare sets of the Destroy All Monsters and Nightcrawlerz magazines, which were both purchased at Printed Matter by the Museum of Modern Art in New York.<\/p>\n

By bringing these artists together, The Armory Show<\/em> revealed a shared architectural language rooted in Detroit\u2019s urban landscape. The conversation that follows returns to the experiments behind the exhibition\u2014particularly Nightcrawlerz\u2019s movement among photography, collage, sculpture, poetry, sound, and emerging technologies.<\/p>\n

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Barry Roth: Portrait of Poe, fax machine image sent from a toy computer program, Oct. 1993<\/p><\/div>\n

Inside the Art of Nightcrawlerz<\/h2>\n

An edited conversation with Barry Roth and Cary Loren<\/em><\/p>\n

On Photography and Finding a Way<\/h3>\n

BR:<\/strong> People loved Bill Rauhauser and he was this heavy influence. A teacher figure is powerful. He was also really invested in the role. But people didn\u2019t know any better. They weren\u2019t looking to anything beyond what was already there\u2014and what Rauhauser showed them. I\u2019m just saying that\u2019s my truth and it\u2019s not that popular.<\/p>\n

CL:<\/strong> You had Carl Toth as a teacher at Cranbrook, and he was much more progressive. He brought in lots of other contemporary artists\u2014I remember meeting Nathan Lyons there and he introduced photographers to poetry and theory.<\/p>\n

BR:<\/strong> Carl would say that Rauhauser was just a derivative guy. He\u2019s not adding anything new to the medium.<\/p>\n

CL:<\/strong> I did find a series of Bill\u2019s that was totally unique and new. That\u2019s why I included him in our group show. He did amazing tabletop work in the 1970s, and maybe he hid behind the street photography. Rauhauser seemed to change direction after looking at Irving Penn in the late fifties and sixties, when he started photographing his object series as an homage. When he was looking at still life and advertising, something broke through. Maybe this happened while he was teaching. He came from an engineering background and planned to go into architecture. He was headed that way before photography. Maybe he was working out questions about form and light in the photo, and even spiritual aspects of photography with his Temples and Tombs. <\/em>The images were childlike and almost sublime. No one understood them.<\/p>\n

BR:<\/strong> I love those.<\/p>\n

CL:<\/strong> I loved \u2019em too and they worked as a kind of architectural link between Gordy, Cay, and us. I saw them at the Pierce Street Gallery in the \u201970s. They were mind-blowing and I never saw anything quite like them before or since. They reminded me of Rayographs. I also saw your work before we met\u2014in Lightworks<\/em>. That was amazing too\u2014nobody was doing those tabletop setups. They were like history stories and mysterious.<\/p>\n

BR:<\/strong> I started that series right before Cranbrook. My artwork came together for me there\u2014in my apartment.<\/p>\n

CL:<\/strong> This was all around the same time, about 1975. This kind of work wasn\u2019t happening anywhere and was kind of a breakthrough. It still seems fresh and undated. <\/p>\n

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Barry Roth: Untitled Photograph, 1970s<\/p><\/div>\n

BR:<\/strong> People still, like I said, reject me.<\/p>\n

New Technology and Photography<\/h3>\n

CL:<\/strong> The Armory Show<\/em> seemed like a small survey of the local avant-garde. We showed the scanner work, collage and some sculpture. And you were doing this stuff even 20\u201325 years before that\u2014when you started using scans in Nightcrawlerz. What gave you that idea, of using the scanner as a camera? Nobody was doing that in the early 1980s.<\/p>\n

BR:<\/strong> I guess I’m experimental, so I tried it. And it worked.<\/p>\n

CL:<\/strong> It seemed so logical\u2014a technique sitting in front of everyone’s nose. Suddenly, you were making fantastic prints that were very detailed and surreal. At that time, in the \u201980s, you were playing a lot with technology.<\/p>\n

BR:<\/strong> I worked with Unicolor, Yashica, and Olympus. I was with Olympus for twenty years. And they gave me a case of paper to test things with. When that ran out they\u2019d send me another case. It was endless. Now, I do stuff on my phone all the time.<\/p>\n

CL:<\/strong> Part of the Nightcrawlerz thing was how we\u2019d communicate to each other through these new technologies\u2014by Xeroxing, faxing, internet book making or scanning. The roots really began with Mail Art but quickly moved into the nascent internet. You were sending electronic images and texts through toys or simple early computer programs and running your poetry through it. You would just consume the technology and make it your own thing\u2014turning it into an expressive device.<\/p>\n

BR:<\/strong> Right. I have no problem with that. I don\u2019t worry about it\u2014or what these people think\u2014because I could tell, people just don\u2019t get it.<\/p>\n

CL:<\/strong> What also started fairly early was our zine making\u2014taking all these various techniques and cutting into and mashing the words and images together. Sometimes we followed themes: Who Killed Jim?<\/em> and Ponch: a Play.<\/em> Our method was about opening up and exposing the process. We laid things out so you could see the outlines. They were like seeing the raw sketchbooks. Nothing was ever completed.<\/p>\n

BR:<\/strong> I had two things going on. I had my own work. Then I had the work I did with Nightcrawlerz. And Nightcrawlerz was more experimental and loose for me. But there were things we would do, things that I would learn from Nightcrawlerz. And then I could apply it to my own work. This was a really loose, fun, and exciting time.<\/p>\n

CL:<\/strong> The scanner reminded me of the first time I started making collages on a Xerox machine in the \u201970s, but the scans had much better clarity and resolution\u2014and they could even be more glitchy with movement and the way light was reflected.<\/p>\n

BR:<\/strong> That’s what got me going first, too. When I started at Cranbrook, they had a color Xerox machine. The thing I liked most was making multiples. With the scanner, you had the ability to look at them right away. And then you could change it right on the fly. The black-and-white photos were very laborious and slow. You had to set up chemicals, and that\u2019s what I did in my apartment. The whole process was set up there so I could do it myself, right on the spot.<\/p>\n

CL:<\/strong> That was when you were living on Whitmore in Palmer Park and doing the tabletop photos.<\/p>\n

BR:<\/strong> Apartment A8, that building is boarded up now. You could die there. But I didn’t want to die there. A guy got shot in front of my building. And I was outside, saw him on the ground bleeding. And I called Lou Katz and said, \u201cI’m moving into your house.\u201d And I got out.<\/p>\n

CL:<\/strong> So that was the same time sculptures began to enter your work? And you blended them into your photos. They became a document of the objects you were making.<\/p>\n

BR:<\/strong> I was doing that in my apartment on Whitmore. I was lucky being young. And the stuff just came together for me and I said, \u201cOh, this is what it is.\u201d And it just took off from that point. The whole theory of what I was doing was to create an object, a sculpture and then reproduce it. I\u2019d ask myself, \u201cWhat would that look like photographed?\u201d Sometimes it looks like nothing. It was just stupid, but other times it would look cool. Other times I couldn’t get it into a picture. It was really through the tabletop stuff that I started to make constructions.<\/p>\n

CL:<\/strong> Did you know Gordy or the Cass Corridor artists then?<\/p>\n

BR:<\/strong> No. I didn’t really know Gordy. I knew his name but didn’t really know him until I met him through you and I was 50.<\/p>\n

CL:<\/strong> What was it like at Cranbrook and studying with Carl Toth?<\/p>\n

BR:<\/strong> Things started to take off when I met Carl, and through Carl, Robert Creeley came to Cranbrook. Carl had a great fix on history\u2014he liked Atget, Moholy-Nagy and also William Carlos Williams and Creeley. He introduced us to artists from the Bauhaus\u2014and the Black Mountain school\u2014an extension of the Bauhaus, after they were kicked out of Germany by Hitler.<\/p>\n

CL:<\/strong> And Charles Olson taught at Black Mountain too. He was an important influence and teacher-poet figure for the Artists\u2019 Workshop in Detroit. Creeley visited the Artists\u2019 Workshop\u2014and met with its members and supported the Red Door Gallery. He really connected through generations of artists. He helped unite the community and was a big supporter of the regional art scene. Keeping it local was his motto and a message that still carries weight today.<\/p>\n

BR:<\/strong> You and I were into him\u2014we read the Creeley\/Olson letters. That was a huge influence for me and changed my thinking of it.<\/p>\n

Poetry, Sound, and Collage<\/h3>\n

BR:<\/strong> I remember Creeley talking about his process and how he goes about making a poem. And when I read that, I really related to it and felt like that’s what I’m doing\u2014I was doing the same thing. It was very encouraging for me. I felt like I was on the right track. Here’s this big guy and we\u2019re doing the same thing. Everything he said, I related to. It made me feel like I needed to keep going. That was a big deal for me, and maybe it happened a few years before I could really understand it.<\/p>\n

CL:<\/strong> I remember reading interviews with Creeley, and he would talk about jazz and music and how that entered his poetry. It affected his word choice, and the rhythms of the line and how he chose to speak. Those inflections in his readings were bouncing off the music he was taking in, and that was something he brought to Charles Olson. The jazz became the poem.<\/p>\n

BR:<\/strong> I like Miles Davis. He’s simple. There’s that stripping down.<\/p>\n

CL:<\/strong> I saw an interview with John McLaughlin. They were in the studio recording In a Silent Way<\/em>, and John said he couldn’t figure out what Miles wanted him to play during the session. He told Miles it was too difficult to play all the chords. He couldn\u2019t follow it. Miles said, \u201cIs that so?\u201d And then he said, \u201cJust play it like you don\u2019t know how to play the guitar.\u201d That\u2019s when John came up with that droning intro in E. He figured it was the first thing you learned when you play guitar. That seems like what we were doing. Learning to forget what we knew. Returning to some root level of understanding. We were trying to locate a foundation, like when you heard that guy say aloud, \u201cLay da block.\u201d That became a riff and a poem that we began to work out. Lots of those riffs were taken from the street.<\/p>\n

BR:<\/strong> It was just stuff that was happening for us.<\/p>\n

CL:<\/strong> I remember when Earl started to hang out with us and his world became a \u201croutine\u201d we would riff on. That reminded me of a William Burroughs thing, and those evolved into skits or worked into poems. And you would run with it in one direction, and I\u2019d follow it into something else.<\/p>\n

BR:<\/strong> Something would pop out for me, and I would build on that.<\/p>\n

CL:<\/strong> It was similar to performing music\u2014and playing with a riff. It\u2019s like when you got those micro recorders from Olympus with those tiny cassettes. They were like early tape loops or samplers we could layer, to thicken up the soup. Also, those life-sized photo props you made in Lou\u2019s basement out of cardboard, rope, paint, and newspapers\u2014they helped turn your experiments into theater. They were so fantasy-like, but still stripped down and bare. The basement became a Nightcrawlerz fortress.<\/p>\n

CL:<\/strong> How do you think our work ended up with the soundscapes?<\/p>\n

BR:<\/strong> I liked it because it was working with my ideas of poetry and the collage idea. And the collage idea touches on sculpture and then at another level it was like creating new forms, new combinations. At times when I listen to it\u2014it becomes startling\u2014the sound feels different and uncanny.<\/p>\n

CL:<\/strong> You had a playful approach to the sound, the sampling we did, the faxes, and the awful records we used as backgrounds. All of it was layered and collage.<\/p>\n

BR:<\/strong> That\u2019s still one of my main things. And I still use some of those poems in the pictures I do today and combine them and cut them with different elements.<\/p>\n

CL:<\/strong> It was very fluid, the use of the image, words, and sound. It came together as one thing. I don’t know how the sound worked into the imagery, but maybe through thinking about it. Poetry would blend into sound and provided a field where it all could exist together.<\/p>\n

BR:<\/strong> Well, the combinations, when I listen to it, suggested poetry in different ways. And from that, I may make a photograph. Maybe it\u2019s my interpretation and not too obvious. Somehow, it gives me a compelling feeling that I need to follow\u2014and I know that\u2019s the next thing I need to do with it. Every once in a while, somebody writes me and they’ve listened to our music. And they’re going, \u201cWow. Yeah. This is wild.\u201d<\/p>\n

Exhibitions and Archives<\/h3>\n

CL:<\/strong> What was the Susanne Hilberry show like\u2014how did that come about?<\/p>\n

BR:<\/strong> That was just after I had leukemia, so it was probably 2012, about 10 years ago. Gordy suggested me to Susanne, who wanted to have another person at the show. Susanne called me up and said, \u201cI represent Gordy Newton and he wants to have you in his show, but I don’t know you, I don’t know what your work looks like. Do you mind if I come over?\u201d And I said, \u201cSure, come by,\u201d and she brought her assistant Hazel, and she loved me. She was so perceptive and looked through all my different things and I couldn\u2019t believe it. I thought she was going to be this snooty person, but she wasn\u2019t. I\u2019d go to her gallery during the off hours and we\u2019d talk. I remember she had a show with Lynn Goldsmith, with her photographs of Patti Smith. And she wanted me to walk through the show with her and tell her what I thought each photo was about. I think she had a hard time with photographs, so I helped her with it.<\/p>\n

CL:<\/strong> Cay\u2019s contributions in the Armory show were gritty and streetwise\u2014a similar style connected to what we think of as Cass Corridor. Gordy was trying to get away from that\u2014to break new ground. He wanted to go for a more refined, condensed style. He made those elegant Plexiglas covers for his work. Even the black drawings were kind of slick and pure. As you and Gordy got more distilled, Cay and I became more complex and chaotic. It all had a futuristic tone, especially Rauhauser\u2019s work, which cast the exhibit as dystopian and constructivist. It was a real odd-couple show. I\u2019m glad you put together the book to document it.<\/p>\n

BR:<\/strong> One copy is at Cranbrook and another is in the archives at Wayne State.<\/p>\n

CL:<\/strong> It was an important thing to have documented, and I\u2019m glad you wanted to do the book. Another thing I liked in the show were your scanned images of photographic objects, like developer trays\u2014how you play with those forms or objects that photographers handle and that become transformed into something else. To me, they were like relics or ritual objects that you framed and pointed out. They also echoed back to the performance art you did ten or twenty years earlier\u2014the Kabbalah \u201crooster tray\u201d and other images you continued to riff on. You have a long history of working on these recurring forms.<\/p>\n

BR:<\/strong> Sometimes I put images up on Instagram and people go, \u201cWow, new direction!\u201d And I go, this was from ten or twenty years ago. I’ve been doing this for over fifty years but I’m glad I never stopped. That was important.<\/p>\n

A Nightcrawlerz Scrapbook<\/h2>\n
\"\"

Barry Roth: Barney and Hugo, 1970s<\/p><\/div>\n

\"\"

Barry Roth: Nightcrawlerz fax, toy program, “Rooster Tray” variation, 1993<\/p><\/div>\n

\"\"

Gordon Newton, letter to Book Beat, 2007<\/p><\/div>\n

\"\"

Gordon Newton: Letter to Book Beat envelope, 2007<\/p><\/div>\n

\"\"

Nightcrawlerz: Manipulated Polaroid, 1981<\/p><\/div>\n<\/article>\n","protected":false},"excerpt":{"rendered":"

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