In an attempt to transform the family album of a century ago into a thoroughly postmodern presentation, Preston Wadley opens an old book, coats it unsparingly with rust-colored paint, and uses it as a base upon which to affix vintage photographic portraits of the time and some found object like a miniature wooden canoe or a little bird figurine that he has painted in aqua tones. Were it only for the photographs, Wadley’s constructions would exude nostalgia, but when the images are embedded in obviously contemporary fabrications, the works evoke ironic playfulness awakened by the juxtaposition of opposite sensibilities. A comfortably confounded little boy holding a big ball would fill us with nostalgic compassion were he not placed next to a beautiful little metal tray partly painted in aqua to simulate corrosion, upon which reposes a bent rust- colored spoon. (Michael Weinstein)
Through December 13 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.
Weather Patterns: A Review of John Santoro at McCormick Gallery Talking about the weather, as painter John Santoro notes, was once just a mundane space filler. Now, with more than a few “warmest year on record” behind us, the weather has become a significant concern.
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