RECOMMENDED In a complicated process of analysis and recomposition, Thomas Kellner travels around the world taking tiny color photographs of slivers of monuments and the interiors of storied public edifices, and then fits the fragments into tightly structured grids that render in a cubist manner the scene that a single seamless shot of each subject would have taken in. Kellner’s re-imagining of his subjects makes them appear as though they were seen through a wire cage, which draws us to attend to the elements, which on close inspection appear to rebel against their inclusion in a coherent and familiar order. A depiction of the steps of the Lincoln Memorial on a summer day shows hapless tourists teetering at all conceivable angles, as the steps break down into paving stones that jut out crazily. This is not desecration or even deconstruction, but sophisticated wicked wit or the perception of a drunk on LSD. (Michael Weinstein)
Through October 18 at Schneider Gallery, 230 W. Superior, (312)988-4033.
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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