Showing that the glossy-magazine house-beautiful color tabletop still-life photograph can be used to gently subversive effect, Tom Van Eynde offers us images of flower arrangements in assorted vases that play with commercial convention. At one extreme of his sensibility, Van Eynde presents red and white roses, with stems anchored in a smoldering blood-red glass, spitting orange flames as fine-spun wisps of curly white smoke descend to the tabletop and rise into enveloping darkness. At the opposite pole, Van Eynde eschews romanticism for geometric formalism, as when he partially obscures the flowers with a floral photograph placed on a stand in the foreground, presenting one of the images in black and white and the other in color. Van Eynde comes so close to sleek modernist commercial design that his witty compositions are ready to cross over. (Michael Weinstein)
Through November 29 at Linda Warren Gallery, 1052 W. Fulton Market. (312)432-9500
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.
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.
