Julie Blackmon, "Girl Across the Street," 2008. Courtesy of Catherine Edelman Gallery, Chicago.
RECOMMENDED
Far from a desperate housewife, Julie Blackmon—surrounded by her extended family in Springfield, Missouri—practices photographic sublimation by shooting her husband and children, and assorted more distant kinfolk, and then tweaking her color images in the computer to create fantasy scenarios that are loose, high and fancy free, yet betray an undercurrent of detachment that subverts all the play and makes us think of our fundamental isolation. Take “Girl Across the Street” in which we see a little tyke from behind looking out of a living room window at a lawn on which a little girl in her undies stands provocatively with hands on hips; only he is immune to her charms and stares past her, seemingly at nothing—we can only hope that changes in a decade or so. Blackmon calls her genial series “Domestic Vacations,” and her images provide us with sprightly relief from the teapot tempests of the everyday. (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.
