Both alien and fanciful, Dan Gamble’s paintings mix architecture with the organic in a painting series of eight works, titled “Cause and Effect.” Gamble creates evolving and eroding towers of muted colors. The detail is astounding, and the method of painting, which covers over the work or completely erases huge portions of the towers adds an unexpected dimension. Math and design play a stiff role in the paintings, but this is softened by the billowing gray back and foreground reminiscent of fog and water. Gamble creates an ovular or circular void in each of his works, which represents the Won Buddhist concept of everything perfect being contained within the empty space. The insertion of this philosophy into the paintings changes what at first appears to be a work of mystical geometry into a comment on the construction of society and the balance between intellect and the natural world. The vortex-like void plays tricks on the eyes, and the larger linen canvases can cause a feeling of being lost. (Rachel Turney)
Through October 11 at ZG Gallery, 300 W. Superior, (312)654-9900.
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.
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