Amanda Browder, mad scientist of scavenger art assemblage, uses hundreds of fabrics to stitch together a surreal and disorienting world in which anything seems possible. Upon entering Green Lantern Gallery one is greeted by a plump gorilla, arms dangling on the floor, face a woolen patchwork of winter scarves and sweaters, eyes clusters of gaudy gold buttons. The gorilla’s greeting is a vomited stream of multi-colored ribbons and beads spilling out on the floor. Beyond the gorilla is a twelve-foot lightening bolt that might be made from your father’s neck-ties and favorite houndstooth jacket. There’s also a floor-to-ceiling tornado made of polka dots, paisleys, strips of bedding with images of cats and shiny polyesters, all swirling up cotton ball dust clouds where it touches the ground. It’s easy to imagine that Browder might have crafted microscopic plush towns and citizens to populate those dust clouds. A ceramic rabbit sits also on the floor, peering into a large canvas propped against the wall. Behind the canvas lie cut-out vinyl letters that spell “Your ship has sailed,” a reoccurring theme in Browder’s show. The canvas itself depicts a boat made of more found fabrics, with ribbons being spit forth from the prow to the floor. Choppy black and white waters bear this ship along to its unseen destination, a place we can only guess given Browder’s vivid childlike vision. The only thing one might ask is to see more of her work in one place at one time. She clearly has a world in mind. We’d like to experience more of it. (Damien James)
Through June 28 at Green Lantern Gallery, 1511 N. Milwaukee, 2nd floor, (773)235-0936.
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.
