Jowhara AlSaud scrapes out negatives until she gets to simple linear outlines that, when she prints them, turn out to be vibrantly assertive action scenes that are a testimony to Wonder Woman feminism delivered with the most refined emotional subtlety. With the intensity of a Japanese comic book and the nuanced sensibility of a brush-stroke painting, AlSaud’s images realize a possibility implicit in pop art—raising mass culture to refinement while preserving its crude mood. Never did any woman embody the will to power so lavishly as a warrior girl brandishing a lance as her long black hair sweeps over her beautifully shaped militant face. AlSaud also depicts women asleep and vulnerable, grieving, hugging and gaily dancing, all assertive, even in despair. (Michael Weinstein)
Jowhara AlSaud shows at Schneider Gallery, 230 West Superior, through December 13.
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.
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