It is always a mistake to miss out on a show of contemporary Chinese photography, which forms today’s avant-garde in that medium—overflowing with experimentation, intellectual depth and cutting wit. Wu Qi, Jian Jiang and Qiu Zhen exceed expectations in this genial exhibit, with Zhen taking honors for his series of street performance shots, in which he escorts his life-size, faceless, pure-white mannequin bride from a filthy junkyard to a parking lot where they are surrounded by a sea of bicycles. Wherever the couple goes, Zhen stands in the same rigid military pose and sports the same doleful and irritated expression, as though it has just dawned on him that he has made the worst mistake of his life. Never known for existential angst and sardonic irony, the Chinese have leaped head first into the convoluted cauldron of deep postmodernist play. (Michael Weinstein)
Through June 13 at Schneider Gallery, 230 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.
