Photo: Co-Founding Editor Jennifer Junkermeier and Associate Editor Ryan Harte.

On Thursday, December 18th, surrounded by the artificial woodlands at the Cass Café, the crew behind Infinite Mile (a Knight Arts grantee) debuted their Year 1 print compendium to much-deserved kudos, distributing copies to contributors and those savvy enough to pre-order for the holidays.

A lively conversation amongst attendees.

The enchanting book, designed by artist Osman Khan, contains the entirety of the online content for the first year of Infinite Mile’s monthly web editions, converted beautifully into the flesh, and ready for analog consumption. Revelers gathered to ooh and ahh, and celebrate this important milestone for the hardworking editorial staff. Don’t worry if you missed the pre-order window; this necessary guide to the Detroit arts and culture scene can still be yours. Order a copy here, and bring home the fruits of this thoughtful collective effort.

Book designer and artist Osman Khan.

Infinite Mile shutterbug and Co-Founding Editor Stephen Garrett Dewyer, caught on the other side of the camera.

Meanwhile, across town, the closing reception for “Where the Juggalos Roam” was winding down at START Gallery. Visiting UK artist Lucy Owen began her obsession with Juggalo culture from afar, rendering exquisite fine art paintings and playful drawings of her subjects from Internet references. As she delved deeper into Juggalo subculture—all but unheard of in the UK—she found herself increasingly compelled by the complex layers of identity at play beneath clown make-up and gender-bending drag, all part of the dynamic cult scene centered around the band Insane Clown Posse.

“Abomination” (left), “Sunburnt Batman” and “Poster Boy” by Lucy Owen.

“Baptism” a lightbox that illuminates the Juggalo practice of dousing each other in Faygo pop.

Owens says of this piece (“New Gotham”), “This same guy is in the pictures from every single Gathering of the Juggalos.”

Finally, Owen made the leap and has been enjoying a six-month residence in Detroit, which draws to a close in the coming new year. Her time here afforded her a visit to the Gathering of the Juggalos—the annual high summit of ICP fans—as well as the 20th anniversary edition of Hallowicked at the Fillmore. Through it all, Owen has created thoughtful reflections that capture a human side to the flamboyant outer presentation of Juggalos.

“Pilgrims.”

Her technique softens and humanizes her subjects, and Owen herself reflects that her visitation and subsequent connection with ICP fans has revealed them to be more sensitive, indeed, than one might suspect at first glance. It’s an interesting artistic survey that doubles as an sociological study of sorts. Her new Juggalo friends won’t be the only ones sad to see her go.

Artist Lucy Owen.