Marc Swanson’s first solo show at Richard Gray Gallery isn’t a turning point or departure for the artist, but a natural continuation of his familiar body of work. Swanson unashamedly plays upon people’s natural attraction to shiny and reflective objects, drawing in viewers with shimmering embellishments of metallic chains, glitter and the apparent overuse of a Bedazzler. His inspiration is varied and the show hints at some of his recurring themes without broadcasting a specific message. Included is his latest work in his recognizable rhinestone-covered animal head and antler sculpture series. The excessive addition of the gems elevates the objects to a cult/fetish status, possibly recalling the story of the Golden Calf and alluding to mystical symbolism. At the same time, the extravagance exudes absurdity. The obvious allusion is materialism and consumption; however, the piece must also be considered in its implied context. Such bestial trophies predominantly have an established context in the male heterosexual realm, and a traditional symbol of masculine prowess seemingly becomes subverted by its sparkly, delicate exterior. Then again, as Swanson might point out, the two don’t necessarily need be so contradictory. (Patrice Connelly).
Through May 23 at Richard Gray Gallery, John Hancock Center, 875 N. Michigan, Suite 2503
An Artistic Project: Portable Gray at Ten (Issues) The journal was conceived as a way to share the work of the Gray Center’s fellows and the University of Chicago’s broader artistic and scholarly community with the rest of the city. This May the journal will launch its tenth issue on the subject of “Family.”
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.
