Playful postmodern performance photography can show up anywhere, as is amply evidenced by commercial fisherman Corey Arnold’s color shots of hijinks on the high seas of the forbidding roiling Bering Straits. The romantic myths of the Great White North assiduously cultivated by such fabulists as Jack London get a big-time tweak when we contemplate scenes in which Arnold lies blissfully in the hold of his boat cuddling a bleeding dead fish that looks like it is about to kiss him on the lips; or when we see a shipmate from behind on the deck swinging an iron bar gamely at a piñata that he contrived as a birthday gift for himself, as monstrous waves swell around him, threatening to swamp the celebration. Even when nature fills the picture, Arnold goes overboard; in a stunningly beautiful image of chaotic motion, a dense flock of gulls flies and splashes every which way in compelling anarchy. (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.
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