German still-photographic dramatist Achim Lippoth stages group scenarios, mainly of children, that he shoots in clear though muted color; and that run from wit to fantasy, and are always formal, even when the activity of his subjects is intense. In Lippoth’s banner image, we are invited back to primary school where we witness two young girls sitting studiously and attentively at their desks as two boys in the back row lean forward behind them shooting spitballs—if only that would have transpired back in the day. When Lippoth sends up the Nazi youth aesthetic in his “Little Wolves” series, he show us barefoot girls in snowy white t-shirts and black skirts tossing red balls in the air with obvious glee that subverts any sense of disciplined order—the new Germans just want to have fun. (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.
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