The great industrial and commercial modern cities—Chicago and New York for Daniel Fitzpatrick—have elicited a dual fascination for photographers who have critically recorded the alienation that urban life can enforce at the same time that they affirm power within that very condition. Fitzpatrick’s contemporary black-and-white images of street life in the metropolis make us glad that we have to become familiar with the harshness, because we receive an invigorating pathos in return. Sheltered by an underpass in a New York park, a lone saxophone player stands silhouetted in black, blowing his notes to no one. In the background and the daylight, some random walkers go their own ways. Disconnection ruptures the sense of social coherence, but Fitzpatrick lends comfort through the suggestion that everyone is going somewhere, if only to the grave. (Michael Weinstein)
Through May 26 at Judy Saslow Gallery, 300 West 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.
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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