One of the more interesting things about Jill McGannon’s landscapes is her ability to mesh individual perspective into realistic representations. The browning poplars among a series of evergreens in “Lombardy Poplars in Autumn” reflect naturally in a cobalt pond. Cumulus clouds floating above seem to frame the scene in an idealized way, and McGannon’s fine brush strokes define objects almost literally. In contrast, “Lombardy Poplars and Vineyards” is more impressionistic with broader, more textured brush strokes. What was once a clear blue sky is now riddled with specks of rust, perhaps hinting at her synthesis of multiple experiences. A border of pressed leaves in “Spring Oak and Barley Grass” blends into a scene of strong gray oaks, with the human experience seeping into natural bliss. Patrick McGannon’s figure paintings reflect the Renaissance style, examining the female form amid simple backgrounds of textured walls and gold leaf. “Burden of Dreams” features a nude woman’s backside covered by a simple cloth, while her arms and shoulders seem burdened by weight. Her delicately defined arms and neck and slightly curled tendrils of auburn hair evoke a graceful strength. But in “Inward Fire,” McGannon embraces a more emotive style, with a model clutching a cloth to her breast, light emphasizing an expression of concentration. Her right arm and hair diminish into the background, as if her classical image had faded over time. (Ben Broeren)
Through April 15 at Addington Gallery, 704 N. Wells.
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.
