RECOMMENDED “Egospheres.” A distinctively feminine eroticism suffuses Gabriela Morawetz’s layered photo-works depicting nude and nubile women enveloped in creased, bunched and tangled piles of tulle. Morawetz achieves an effect of meditative self-enclosure by printing a base image on canvas and then super-imposing a second one over it printed on tulle, leaving a gap between them that creates the illusion that we are looking at a completed scene in three dimensions that constitutes an astral world unto itself. Morawetz’s women are neither insouciant supermodels nor vamping porn queens; they seem to be comfortable in their bodies, yet they radiate a mild reflective melancholy as they sprawl, stand and crouch in their silken wrappers. We are privy to staged private moments that show us the artist’s sense of life, which is realized in a tension between the never contented flesh and even the most soft and seductive substances. (Michael Weinstein) Through October 20 at MAYA POLSKY GALLERY
Repurposing AI: A Review of Stephanie Dinkins at Stamps Gallery While this show is timely for everyone, I consider its setting within a university art gallery and emerging tech hub like the city of Ann Arbor a subversive provocation which Dinkins invites the greater public—including members of the university community—to consider our own positionality to AI and technology.
Lost in Translation: A Review of Crip* at Gallery 400 The strongest works in the exhibition succinctly express the ways the artist relates to their own body while calling out how the artist’s body and body of work has been perceived or coded against norms or ideals.
