Whereas Archer gravitates toward intricate, black and white details and photography, Key centers on the anything goes approach. Archer’s four pieces are titled “May I Reason On,” broken down into figures 1a and 1b per piece. Her paper works are set up like a diagram with penciled and black ink lines connected to torn black and white torn photographs of brick houses, a porch, a man working at his desk, family portraits and people on a balcony. Each part has some connection to the next. She writes out the dimensions and names of some of the objects underneath. Next to the photograph she shades in pencil trying to complete the image. She draws red squares around certain parts to emphasize them. It takes awhile to absorb all of her cryptic nuances on memory. Key says “gaud is good,” thus his paintings are vibrant and ornate, inspired by wallpaper and still life. “Blood Oranges and Apple Cores” features sliced open blood oranges dripping into a pool of blood. Eaten apple cores ooze with brown goo against backdrop of a budding green plant. “Prune and Spoon” intermingles cigarettes, phallic objects and a variety of blossoming of flowers. It’s horticulture gone wild. (Garin Pirnia)
Through April 19 at Caro d’Offay Gallery, 2204 W. North, (773)235-7400.
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.
