In her extra-wry postmodern photographic send-up of the classical Dutch still-life painting–redolent with detailed depictions of comestibles sufficient to satiate any gourmand–Stephanie Dean displays for our delectation contemporary treats, such as tomatoes bearing their identification stickers, cheese bars coated with wax sporting their nutritional information labels, and plastic tubs stuffed with hydroponic lettuce. At a distance, the images do not betray their ubiquitous signs of commerce and are simply intriguing and extravagant arrangements of food, but get a little closer and the vestiges of the supermarket aisle are all that you will be able to see, and you are guaranteed to crack a smile, if not break into a chuckle. Dean’s images are neither ads nor beauty studies; they are pure play spiced with generous sprinkles of biting irony. (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.
Across Layers of Reality: A Review of Jacolby Satterwhite at SAIC Galleries The exhibition bills itself as the first major survey of work by the artist. Across its large footprint, audiences can see how Satterwhite’s aesthetic has evolved while maintaining the commitment to personal history and embodied practice that launched his career.
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