Lovers of Midwestern landscape will be delighted to find two mid-career masters currently on display at the Ann Nathan Gallery, both of them looking back beyond the twentieth-century, i.e., more concerned with sharp image than with selective focus or expressive brushwork. Arthur Chartow, from Michigan, wants us to share a bright beautiful day, even if we’re looking at a major industrial facility, so he makes a nice contrast with Charles Sheeler’s more severe homages to technology. His world is full of promise, and there’s no sadness in his work, except for some anxiety that such beautiful moments are too perfect to last for very long. While Ahzad Bogosian, from St. Louis, prefers a more cloudy, earthy, atmospheric, kind of day, like the moody Dutch used to have in the seventeeth-century. Bring along a loaf of bread, a bottle of wine, and join him beside the autumnal banks of the Kankakee, to meditate on that which has come and that which has gone. (Chris Miller)
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.
