Michael K. Paxton’s exhibition title, “Alpestrine,” is also a botanical term meaning “grown at high altitudes or mountainous regions.” This is the birthplace for Paxton’s inspiration and fitting for his first solo show of paintings at the Linda Warren Gallery. Paxton’s aerial views of mountains and islands are on a gargantuan scale. “Full Mountain,” a mixed media on unstreched canvas, is the largest piece in the show, measuring 5×12 feet. More impressive than the pieces’ size is the artist’s approach—though the subject matter is solid and heavy, the pieces appear airy and ethereal. The mountainous structures are not rigidly defined, but flow into amorphous forms that continue off the canvas. Warm reds and browns mingle effortlessly with blues and greens to create temperate textures, a large leap from the artist’s previous black and white palette. Paxton, who has been an active artist in Chicago for more than thirty years, and currently teaches at Columbia College, is originally from mountainous West Virginia. A recent trip to Greece, where he spent his time hiking and exploring some of the highest peaks in the Aegean, resonated with his childhood memories, inspiring this series of work. Though a personal catharsis for the artist, viewers too will be able to identify with the mountain’s symbolism as obstacle or stepping-stone to a higher level. (Patrice Connelly)
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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