An aficionado of the Far East, Glenn Wexler betrays his career as a graphics/signage installer in his glossy color photos of billboards and architectural details in postmodern Tokyo, Osaka and Bangkok. Mixing blurred shots taken from train cars with precise studies of outdoor ads, Wexler attempts with success to capture the aesthetic of a journey through the contemporary city, in which the world ordinarily rushes by us until we are arrested momentarily by some commercial icon and fall into simulated zen. Considered separately, Wexler’s most effective images are the motion shots whose subjects dissolve into intriguing undulating pastels. Just to show that he knows that there are other sensibilities, Wexler offers up two somberly moving black-and-white impressions of aspects of pagodas that, perhaps because of contrast effects, steal the show by throwing us far from the madding pitches. (Michael Weinstein)
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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