Dealing from a full pack of photographic manipulations, most notably multiple exposure, and operating with several printmaking processes, Tamar Halpern usually ends up with modernist abstractions that mix cubist juxtaposition of figures with expressionist energy. With a feel of the fabled American expressionism of sixty years ago, Halpern’s dense and complex play with liberated geometry takes us back to a lost era of vibrant, optimistic and bold creativity. The studies in black and white are the most effective because they could have been conceived in the heyday of Chicago’s Institute of Design, when Laszlo Moholy-Nagy and his crew advanced under the banner of “light painting.” Halpern also offers some more representational images that instruct us about the compositional base from which her abstractions take flight, and teach us that the world is always with us, even simply as an excuse for fancy. (Michael Weinstein)
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.
