Among the generation of gifted photographers from Chicago’s Institute of Design in the 1950s who brought modernist photography to a perfection never again to be surpassed, Kenneth Josephson stands out as the one who took the first step into our postmodern age. Rather than adhering to a purely photographic vision, Josephson discerned the possibility of playing with the cultural meaning of photography and subverting its pretensions to realism, crafting images about the medium instead of showing what it could produce on its own accord. Guided by a spirit of wry wit, Josephson offers us an image of a reclining woman, cropped above the waist and wearing a black dress on which he has placed a photograph of the vaginal area where it would appear had his subject been naked. Done without theory and with almost naive innocence, everything we know now is already here. (Michael Weinstein)
Through April 19 at Stephen Daiter Gallery, 311 W. Superior.
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.
