The humble beet never looked so seductive as it does when Mary Rezny has impressed it, leaves and all, on light-sensitive paper, presenting us with images that will beat anyone else’s calla lilies in the race for vegetative beauty. Rezny’s beets appear in her luscious photograms in subtle and muted rosy red, pink and light-brown tones, floating like visions of sugar plums against rich and deep chocolate-brown backgrounds. The secret of Rezny’s success lies in the soft definitions of her subjects, which make them appear to be arrested in a sinuous dance, and their isolation, which gives them a pleasurable hallucinogenic jolt. Forget the joys of psychedelia, where every color is super-saturated and you might go blind; relax, feast your eyes on the magic beet and take a gentle, involving journey to the undulating center of your mind. (Michael Weinstein)
Through July 5 at LOGSDON 1909 GALLERY, 1909 S. Halsted. (312)666-8966.
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.
