Luis Fernando Uribe blurs the lines between gender and race in his 2008 collection. Multiple human forms blend together to create faces in Uribe’s oil canvases, reminding the viewer that though each person is a unique individual they are also part of a whole and made of the same elements. A woman’s face is distinct in “Memory” but the viewer must step back to see the depiction of a face clearly in other portraits. Included in Uribe’s new works are black-and-white oil-on-paper etched depictions of humans, animals and scenes. Though still the similar theme, the coloring differs remarkably from the reds, blues and skin tones of Uribe’s other paintings. The black and whites are not nearly as captivating or beautiful. The best piece in the new collection is the small plaster sculpture “Torso.” Tiny bodies wind around the male form—a small three-dimensional rendition of Uribe’s canvases. A sample of Uribe’s earlier work is also on display showing the range of his creativity. “Ground Figure,” though not a new painting is a breathtaking colorful representation of Uribe’s past work. (Rachel Turney)
Through October 11 at Aldo Castillo Gallery, 675 N. Franklin, (312)337-2636
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.
