With a bevy of his black-and-white street portraits of blind Mexican children now on view at the Cultural Center, we get a chance here to look at what Jed Fielding captures when he encounters sighted young subjects who can respond to the camera at will. Whereas the Mexican series was inevitably voyeuristic, the tables are turned in this one, which was shot in Italy, Spain and Mexico. Especially when the kids are in groups and have leaders, they stand up to Fielding and mug outrageously, admire their expressive friends, or simply ignore the photographic event going down. Feistiness rules the roost, as the leaders glower like fierce protectors, smile with sly superiority, stare down the shooter with intensity, or vogue in masks and seductive poses. Taken together, Fielding’s two shows make the obvious point, which bears reinforcement, that sight is a glorious gift of power. (Michael Weinstein)
Through July 3 at Catherine Edelman Gallery, 300 W. Superior
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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