Art in America Reviews Diego Perrone, Self Portraits
Glass is a material long associated with illumination, enlightenment, and the divine. The cast glass sculptures featured in Italian artist Diego Perrone’s exhibition “Self Portraits” hold out the promise of personal revelation. Elegantly displayed on white plinths, many of the untitled works (all 2016) are vaguely cranial in shape. But instead of offering a transparent glimpse into the seat of reason and intellect, the sculptures appear as elegant monuments to opacity. Perrone adulterated the glass forms by adding minerals and pigments in uneven patches during the casting process. Brilliantly colored crusts give way to clouds of mellow hues that seem to diffuse slowly through the glass. Other aspects of the casting process were executed with mechanical precision. Crisp and detailed renderings of ears, koi fish, and tractor equipment emerge from the works’ surfaces. These forms have previously appeared in Perrone’s sculptures, and here they look almost like stock images rather than personal symbols. More reminiscent of Medardo Rosso’s impressionistic sculptures than stained glass windows, Perrone’s “Self Portraits” embody a notion of self that melds alluring display and an act of withdrawal.
CASEY KAPLAN AT ART BASEL MIAMI BEACH
DECEMBER 1 – 4
PREVIEW: NOVEMBER 30
KEVIN BEASLEY, MATTHEW BRANNON, SARAH CROWNER, N. DASH, TRISHA DONNELLY, HARIS EPAMINONDA, JONATHAN GARDNER, LIAM GILLICK, GIORGIO GRIFFA, BRIAN JUNGEN, MATEO LÓPEZ, DIEGO PERRONE, HUGH SCOTT-DOUGLAS, SIMON STARLING AND GARTH WEISER
Kevin Beasley and N. Dash at Two x Two Auction
TWO x TWO for AIDS and Art is an annual contemporary art auction held in the Richard Meier-designed Rachofsky House in Dallas, benefiting two organizations—the Dallas Museum of Art and amfAR, The Foundation for AIDS Research.
Thanks to the phenomenal support of the dealer and artist community, corporate sponsors, and Dallas patrons, TWO x TWO for AIDS and Art’s annual benefit gala dinner and art auction has raised over $60 million in its 17-year history in support of amfAR’s AIDS research initiatives and the DMA’s contemporary art acquisition program. The 2015 event raised a record-breaking $8.6 million.
TWO x TWO is such a successful event because it provides an opportunity to support two very worthy organizations. amfAR, the Foundation for AIDS Research, has made great strides in essential AIDS research initiatives over the last 25 years, and TWO x TWO has become amfAR’s largest fundraiser in the United States. The Dallas Museum of Art has added over 220 major works of contemporary art to their permanent collection with TWO x TWO proceeds donated to their Contemporary Art Acquisition Fund and exhibitions. TWO x TWO is also the DMA’s largest annual fundraiser.
Drawing prominent artists, art collectors and philanthropists from around the world, TWO x TWO for AIDS and Art has evolved into a week full of social events aimed at recognizing the progress of amfAR and engaging the arts community here in Dallas. An eagerly anticipated event that quickly sells out, the benefit features a seated dinner for 450 guests with both a live and silent auction of major works of contemporary art and unique luxury items. The following day, amfAR presents its Award of Excellence for Artistic Contributions to the Fight Against AIDS at an intimate luncheon at The Warehouse.
The Saturday night gala and auction, conducted by Jamie Niven, has included VIP celebrity guests such as Harry Belafonte, Alan Cumming, John Benjamin Hickey, Cheyenne Jackson, Taylor Dayne, CeeLo Green, Gladys Knight, Patti LaBelle, Shirley MacLaine, Barry Manilow, Liza Minnelli, Natasha Richardson, Gavin Rossdale, Sharon Stone, Dita Von Teese, Robin Thicke, Stanley Tucci and Sigourney Weaver. Renowned artists Cecily Brown, Peter Doig, Tom Friedman, April Gornik, Mark Grotjahn, Wade Guyton, Jim Hodges, Ellsworth Kelly, Elizabeth Peyton, Richard Phillips, Robert Rauschenberg, Ed Ruscha, Julian Schnabel, Joel Shapiro, Luc Tuymans, and Christopher Wool have been honored. The 2016 gala will honor artist Laura Owens.
Casey Kaplan at Frieze London 2016
Bid on a Giorgio Griffa at the The Drawing Center Auction, September 27
The Drawing Center’s
Annual Benefit Auction
Tuesday, September 27th, 2016
6:30-8:00 pm cocktails and silent auction
35 Wooster St., NYC 10013
Proceeds from the Giorgio Griffa piece will go towards supporting Mateo López: Undo List, opening at the Drawing Center in January 2017.
Tickets are available now! Please click here to purchase a ticket.
If you would like to make a tax-deductible contribution to support The Drawing Center, please click here.
Jonathan Gardner was named one of the 15 New York shows to see in September
September 8 – October 22, 2016
A year after Gardner’s paintings made buzzy appearances at LISTE and Art Basel in Miami Beach, the New York-based artist rings in his New York solo debut with a grouping of large-scale canvases. Building on his breakout body of stylized, just-left-of-surrealist tableaus, he fills his new work with elegant hodgepodges of traditional Modernist devices—supine nudes, fractured space, and tromp l’oeil details among them. But there’s a contemporary twist. The edges of each form are so smooth that they recall Photoshop concoctions. And house plants make witty reference to our current obsession with perfectly-potted succulents, while clothing and walls adorned with angular patterns look as though they’ve been lifted from your coolest friend’s Instagram feed. All this is to say, Gardner’s paintings carry more than the associations conjured by the reclining nude. They also embody—and question—today’s penchant for personal curation.
N. Dash has been included in Artsy’s, 21 New York Gallery Shows Where You’ll Find Exciting Young Artists This May
Dash places great emphasis on physical contact in her artistic process, channeling her body into her work through touch. Indeed, for her first show with Casey Kaplan, the New York- and New Mexico-based artist has created visceral, elegant compositions by layering canvas, linen, and jute over adobe panels; where these disparate materials meet, edges fray, strings dangle, and fabric wrinkles compellingly, almost like skin or an aging blanket. Other works show ghostly, abstract forms resembling auras. For these, Dash silkscreened images of small cloth sculptures she has shaped spontaneously with her hands throughout her career onto the terra cotta-hued substrate.
N. Dash named one of the 17 Must-See Shows During Frieze New York
N. Dash at Casey Kaplan, May 3 through June 18 (121 West 27th Street)
For her debut with the gallery, the artist presents silkscreen works derived from the shape of pieces of fabric that she manipulates and worries through the course of a typical day, with the resulting “dirty wads of hugging threads” generating largely chance-based imagery.
Haris Epaminonda, VOL. XVII in The New York Times T Magazine
In the Flower District, Galleries Bloom
BY KAT HERRIMAN
MARCH 30, 2016
Slotted between the wholesalers, flower peddlers and midrange hotels, a new crop of galleries have sprung up in New York’s flower district. They’re in the area for various reasons, but they share one thing in common — a love for their neighborhood. “We decided to move into the flower district and Tin Pan Alley because it has history and personality, like our gallery. It’s a part of a New York that exemplifies what this city used to be like,” says Galeria Nara Roesler’s artistic director, Alexandra Garcia Waldman. Waldman oversees the Brazilian gallery’s recently opened outpost on Tin Pan Alley — the stretch of 28th Street between Sixth Avenue and Broadway — but this is not the curator’s first time in the city; she went to school here and has been back and forth ever since. This April, Waldman promotes the films of Cao Guimarães, one of Brazil’s most prolific artists of the 1980s. As Guimaraes’s first solo show in New York, the exhibition exemplifies the gap Nara Roesler hopes to fill in the cultural landscape.
Turn right out of Galeria Nara Roesler and you’ll see the neon of Planthouse, an independent gallery that takes its name from its first home, a wholesale florist on 27th street between Fifth and Sixth Avenues. When their previous landlord told Planthouse’s owners, Katie Michel and Brad Ewing, that their gallery would be demolished, they scored a second-story space across the avenue. Both printers by day, Michel and Ewing rely on outsiders for curatorial direction. Their upcoming show, “Dark Star: Abstraction and Cosmos,” curated by Raymond Foye, looks at the universe through the eyes of eightartists including Jordan Belson, Tamara Gonzales and Sally Webster. While Ewing and Michel love the industrial feel of the area, they really chose it because of its proximity to their day jobs at Grenfell Press. “It was really convenience for us,” says co-owner Ewing. “I’ve been commuting here for 11 years. When we found the flower shop, it just felt right.”
A block away, the veteran dealer Casey Kaplan just celebrated his one-year anniversary on 27th Street. The gallerist moved to the neighborhood in 2015 after finding an ideal space for a white cube among the mostly commercial offerings. “I had been looking in Manhattan for about a year,” Kaplan says. “When I saw this space, I believed it was a place the gallery could inhabit for the next 10 years.” The current show, “Haris Epaminonda: Vol. XVII,” makes use of the space’s refurbished architecture with references to display and structure. Epaminonda’s sculpture vignettes, made of pedestals, vases and models, bring to mind the eclectic amalgamation of purveyors and manufacturers right outside the gallery doors. Familiarizing themselves with the area, Kaplan and his team are continually discovering new hole-in-the-wall shops. “I didn’t set out to be here, but I like the neighborhood,” Kaplan admits. “It’s very much real New York.”
Liam Gillick, Phantom Structures on Artnews
LIAM GILLICK AT CASEY KAPLAN
By Alex Greenberger
In the 20 years since he burst onto the international art scene, Liam Gillick has been loosely affiliated with the YBAs and the relational aesthetics contingent, but this British artist doesn’t fall cleanly into either group. His work is more cerebral than that of other YBAs, and denser and more grounded than the relational-aesthetics adherents. So where does Gillick fit? The simple answer is: nowhere.
As this Casey Kaplan exhibition, titled “Phantom Structures,” makes clear, Gillick’s work was ahead of its time—more like what younger artists are doing today than what his mid-career colleagues are producing.The artist’s predilection for sans-serif gibberish, printed here in the form of vinyl wall text, persists, as do his Donald Judd–inspired Plexiglas sculptures. The pristine coldness of the installation evokes a dysfunctional office space.
Gillick has written extensively about capitalism, production, and consumption, and it’s easy to fall into a rabbit hole of art theory when thinking about his work. One could spend hours pondering whether Gillick is referring to Constructivism or Minimalism, or whether his text works are intended to be critical of corporate language.
BOOK LAUNCH: MATEO LÓPEZ XYZ
FRIDAY DECEMBER 11, 4 – 6 PM AT CASEY KAPLAN
The artist will be joined in conversation with Senior Curator Claire Gilman of the Drawing Center on the subject of López’s current exhibition: A Room inside a room, on view at Casey Kaplan through December 19.
Mateo López’s XYZ, an artist book published by S/W Ediciones in a limited edition of 150 and a deluxe edition of 30, all signed and numbered by the artist, operates in part as an archive of plans and diagrams applied in the construction of the artist’s paper sculptures, and as insight into the inner-workings of the logic applied within each tactful maneuver. With every skillfully crafted sculpture or work on paper, intent subsists within the subtlety of a predetermined line or fold. In revealing the technical and foundational support established in the process, the pages of the book exist in and of themselves as distinct works on paper, pulling the viewer into the mechanisms of López’s psyche. Enclosed inside each individual edition rests a single cutout piece of paper taking shape in varying formations, such as a butterfly or a pair of eyeglasses; an extraction removed from the book itself is translated into an ethereal artifact waiting to be uncovered. Special thank you to Ana Sokoloff at S/W Ediciones.
Book specifications (for both Deluxe and Limited editions):
- Fifty-six pages, french-folded screen printed cover
- Fifty-four images printed in archival ink, based on artist’s pencil drawings
- The closed case size is 8.5 in. wide x 10.5 in. high x 1.25 in. deep
- The cruciform case is handmade with a lace tie
Deluxe Edition with Original Artwork:
- Handmade clamshell case is screen printed
- The case’s upper box holds one cutout sculpture pinned to a screen printed sheet
- The case’s lower tray holds the book
- The closed case size is 9.25 in. wide x 11.75 in. high x 4.5 in. deep
Mateo López (b. 1978, Bogotá, Colombia) is currently included in the exhibition United States of Latin America, curated by Jens Hoffmann and Pablo León de la Barra at the Museum of Contemporary Art Detroit through January 3, 2016. His work has been exhibited internationally, having presented solo exhibitions at the Museo de Arte Moderno, Medellin, Colombia (2014); The Jerusalem Center for the Visual Arts, Jerusalem and Tel Aviv, Israel (2012); Gasworks, London (2010); and Museo de Arte Contemporáneo de Castilla y León (2009). In 2013, López was featured in the exhibition “A Trip from Here to There” at The Museum of Modern Art, New York, an exhibition centered around his work by the same title, curated by Jodi Hauptman and Luis Pérez-Oramas. The artist has also participated in past group exhibitions including The Drawing Room, London (2015); The Museum of Fine Arts, Boston (2013); 43 Salon Nacional de Artistas, Colombia (2013); Mercosur Biennial (2011); and 29 Bienal de Sao Paulo (2010). López is included in numerous public collections including the Museum of Modern Art, New York; The Berezdivin Collection, Puerto Rico; Inhotim, Minas Gerais, Brazil; Banco de la Republica, Biblioteca Luis Ángel Arango, Bogotá, Colombia; Bienal de Cuenca, Ecuador; and CIFO, Cisneros Fontanals Art Foundation, Miami, FL. López is slated to open a solo show at The Drawing Center, New York in January of 2017.
CASEY KAPLAN AT ART BASEL MIAMI BEACH
PREVIEW: DECEMBER 2
DECEMBER 3 – 6
FEATURING ARTISTS: KEVIN BEASLEY, MATTHEW BRANNON, NATHAN CARTER,
SARAH CROWNER, N. DASH, JASON DODGE, JONATHAN GARDNER, LIAM GILLICK,
GIORGIO GRIFFA, SANYA KANTAROVSKY, MATEO LÓPEZ, DIEGO PERRONE,
HUGH SCOTT-DOUGLAS AND GARTH WEISER
Artnews covers Jonathan Gardner now represented by Casey Kaplan
CASEY KAPLAN NOW REPRESENTS JONATHAN GARDNER
by Andrew Russeth
Jonathan Gardner, whose lush, richly colored, cartoon-inflected paintings abound with beautiful ladies (who are quite often topless), elegant patterns, and art-historical references, is now represented by Casey Kaplan in New York.
A representative for the gallery, which is based in Manhattan’s Flower District, said that Kaplan first came across the work in 2014 and that they will host a solo show by Gardner in September 2016.
Gardner has had one-person outings at Mary Mary in Glasgow, in 2014, and Corbett vs. Dempsey in Chicago, in 2011 and 2013, and was one in a two-person exhibition with Vanessa Maltese at Nicelle Beauchene in New York earlier this year.
In June, Mary Mary brought a selection of the New York–based artist to the Liste art fair in Basel, where they received quite a bit of attention. Looking forward to this upcoming show!
Casey Kaplan at Frieze London 2015
Casey Kaplan at Frieze London
October 14 – 17, 2015
Kevin Beasley, Nathan Carter, Sarah Crowner, N. Dash, Haris Epaminonda, Giorgio Griffa, Mateo López, Hugh Scott-Douglas, Garth Weiser
LEG/FLOOR/BODY/BASS, 2014, New Forms Festival, Vancouver, Canada. Photo: Nicole Gurney
Kevin Beasley performances at the High Line railyards
Untitled Stanzas: Staff/Un/Site
Tuesday, September 22, 2015
Wednesday, September 23, 2015
Thursday, September 24, 2015
Performance at 6:00 PM
High Line at the Rail Yards
On the High Line at West 30th Street and 12th Avenue
Free Admission | Open To All Ages | No RSVP Required
Kevin Beasley creates densely layered sculptures and sound-based performances that form immersive tactile experiences. With microphones embedded in cast plaster objects dragged across the gallery floor, or arranged in fleets to capture the sound of the artist’s movement, Beasley emphasizes the physical nature of sound, both in the mechanical waves by which sound travels, and in the insistence of one’s presence in the creation and experience of noise. The artist focuses on the personal memories we each bring to our experiences in both his performances and his sculptures, embedding them with objects and sounds imbued with personal experience. Beasley’s 2012 sound performance at MoMA featured the artist in the museum’s central atrium processing the voices of deceased rappers into cacophonous wails that shook the walls of the museum itself.
For the High Line, the artist will install and play a new sound composition at the 12th Avenue Overlook, on the High Line at West 30th Street and 12th Avenue. Over the few months leading up to the performance, Beasley traversed the High Line, recording sounds from around the park – from crickets chirping in the thicket at West 21st Street, to the evolving sound of various construction sites, to the meandering traffic on the West Side Highway. Beasley took greatest interest in the convergence of sounds at the rail yards, due to the wide open soundscape enabled by the lack of skyscrapers. In an attempt to engage one of the few remaining open-air pockets in Manhattan, the artist will amplify, accentuate, and process these recordings. Furthermore, each performance will be recorded and layered on top of the next, creating a changing, open-ended composition. Beasley says he imagines the work’s title as a score, each performance as a stanza, and the site as the medium or notes that fill the score.
Matthew Brannon’s Skirting the Issue named one of the five must-see shows in New York by Artinfo
Matthew Brannon at Casey Kaplan Gallery, through October 24 (121 West 27th Street)
Brannon’s series of new works — mainly using a letterpress, serigraph, or silkscreen technique — purports to “explore emotional registers within the context of the Vietnam/American War.” That mission, however, is obscured, or at least softened, by the nostalgic pull of Brannon’s aesthetic. Most of the pieces are forms of still life in which various objects and products seemingly suspended in midair. Brand names dominate — Chesterfield, Western Union, Heinz, Sno Sheen — with the occasional outlier item provoking a joke: a bottle of Liquid Paper, for instance, beneath a diploma from the New York Psychoanalytic Society, as if poking fun at Freud’s mistakes. The pall of war is mostly lost amid the clutter of domesticity and consumer goods, which is, perhaps, the point. A hint of the wider world, though, pops up in “Ready or Not,” 2015, in which a folded Order to Report for Armed Forces Physical Examination sits alongside a box of corn flakes, a novelty greeting card displaying Snoopy as Joe Cool, and a shuttlecock.
Matthew Brannon’s Skirting the Issue featured in Artforum’s Critics’ Picks
In Matthew Brannon’s latest output, candy-colored arrangements of objects and text—a wedding cake, a pack of Lucky Strikes, a bottle of vanilla extract—address the Vietnam War with a decorative aestheticism. This strategy may feel absurd, but Brannon deliberately avoids picturing scenes of violence, instead focusing on commodities, from a shuttlecock to a bottle of Heinz ketchup. These assemblages suppress violence almost to the point of invisibility, evoking a wartime America proceeding as if in an unaltered peacetime. In First Base (all works 2015), what initially seems a straightforward still life comprised of recreational equipment—a playing card, a World’s Fair souvenir, a record—is complicated by the fact that the record is a single of Barry McGuire’s 1965 protest song Eve of Destruction.
Leisure time and conflict are threaded through each other, and war mostly comes through indirect signifiers—world maps and international brand names that place the particularly “American” iconography within a larger context of global politics—or through civic imagery that has been so diluted as to be almost meaningless, as in an advertisement-like view of Washington’s monuments (Camelot). Clues to this latent violence abound. InPurple Heart, Brannon places a historically accurate draft notice, carefully reproduced via letterpress, among comparatively carefree detritus (a Peanuts greeting card, a box of Corn Flakes).
Concentrating on the conflict at home rather than on scenes of violence means that the images can also be funny. Three pictures of 1960s interiors, for example, are so pitch-perfectly bourgeois it’s easy to laugh: a rubber duck in the corner of a doctor’s office, a modish Braun radio. This comedic, almost satirical aspect offsets some of the nostalgia that underlies the abundance of domestically coded objects: If history is experienced through sentimental recollection in Brannon’s spare montages, farce can also subject that sentiment to critical reevaluation.
– Nicholas Chittenden Morgan
Artnews covers Hugh Scott-Douglas represented by Casey Kaplan
Hugh Scott-Douglas Joins Casey Kaplan in New York
By Andrew Russeth
New York’s Casey Kaplan gallery now represents Hugh Scott-Douglas, who is perhaps best known for abstract, pattern-rich panels and installations that he makes using a wide variety of techniques—from photography to laser cutting to inkjet printing—that take as their subject various methods and networks of production, translation, and transaction.
Scott-Douglas, who was born in 1988, is pretty busy at the moment, with solo shows on tap later this year at the Rosenwald-Wolf Gallery at the University of the Arts in Philadelphia and Blum & Poe’s New York gallery, and another scheduled for the Togichi Prefectural Museum of Fine Arts in Tochigi, Japan, next year.
Though his last solo show in New York was back in 2012 at Clifton Benevento, some New Yorkers may have caught his work in “Bloomington: Mall Of America, North Side Food Court, Across From Burger King & The Bank Of Payphones that don’t take incoming calls,” a commendably messy group show that Chelsea’s Bortolami gallery staged at a temporary space in their neighborhood last year.
Casey Kaplan featured in Artnet Best Gallery Booths at Art Basel
See 11 Of The Best Gallery Booths at Art Basel
3. Casey Kaplan Gallery
“I’m excited to be showing three women I’ve never shown before at Basel,” said Casey Kaplan when we entered the booth of his eponymous gallery. Those artists are Berlin-based Haris Epaminonda (represented by a piece of antique statuette), the paintings by N. Dash, who joined the gallery this past January, and a large black-and-white geometric abstraction by Sarah Crowner hanging on the exterior wall, which echoed work Crowner presented at Kaplan earlier this year (above).
Six gorgeously colored resin-cast works by Kevin Beasley that looked like medium-sized plastic crates, which had been peppered around the gallery, were sold as one work; it had already been placed in an important European collection. When asked about a recent New York Times article, which highlighted the difficulty of galleries to get into Basel, Kaplan, who has been coming to Basel for years, said that his mother took note. “After 20 years in the business,” said Kaplan, “it takes that article for my mother to say she’s proud of me.”
Casey Kaplan at Frieze New York 2015
Frieze New York 2015
May 14 – 17, 2015
Randall’s Island Park, New York
Casey Kaplan Gallery is pleased to announce its participation at Frieze New York with a presentation that brings together a grouping of artists, diverse in media and process, whose work reflects ever-present themes of materiality and identity that permeate throughout the gallery’s program.
Perspectives vary and contrast, but an engagement with material and an emphasis on process persists, as seen in the work of Kevin Beasley, N. Dash, Sarah Crowner, Giorgio Griffa and Garth Weiser. Beasley continues to observe the fundamentals of materiality in Untitled (2015), which consists of a blend of personal apparel, fragments from the studio, polyurethane foam and resin. It allows for a palpable experience that is bound by the maker’s material history. This inherent physicality is further explored by N. Dash, whose use of unprocessed materials including wood, linen, and adobe, allows for a product that is comparable to a lived experience, communicated through the meeting of disparate structural or corporeal elements. Sarah Crowner’s patterns that are first drawn, painted, then cut, sewn and finally stretched, as seen in Rotated Lips, allow the process or making of an object to be intimately connected to the composition and in effect, the viewer. Giorgio Griffa considers materiality paramount in his acrylic on un-stretched canvas and linen works, emphasizing the act of painting through gesture, color, and texture. From the late 1960s to today, Griffa has maintained a language of sorts through simple, distinct movements that reveal the densities of material – the acrylic seeps into the fabric and the single brushstroke is memorialized. Garth Weiser’s layered paintings are a paradigm for the consideration of material, texture, and the procedural margin between careful preparation and that which gives way to chance.
As notions of materiality and tactility linger, identity and origin are considered by artists Matthew Brannon, Nathan Carter, Liam Gillick, Mateo López, Marlo Pascual, Julia Schmidt and David Thorpe. Matthew Brannon’s silkscreen and acrylic work on paper maintains the artist’s resounding themes of the autobiographical narrative and the destabilization of language. Liam Gillick, known for his examinations of social interaction and cultural or political systems, remains in tune stylistically with his discernable oeuvre, for the powder coated aluminum works presented here question the role of art within these systems that make up society, and in effect our place in it. Nathan Carter’s visual interpretations of frenzied communication systems, networks of transportation, and the unruly intersections and tensions that are central to our everyday, toy with the notion of a societal breakdown and the impending consequences for the individual.
Expanding upon a concern towards mark making and the power of the symbol, Mateo López presents a playful approach to the discourse between opposing facets such as the realistic representation of one’s surroundings versus the impending inferences that result, as seen in Brazo (arm) (2014). A collapse in the connection between subject and viewer occurs in Marlo Pascual’s Untitled (2015), consisting of two digital c-prints mounted on Plexiglas, by fracturing the image. In effect, Pascual is able to disorient and cause an introspective encounter as the viewer is left with the original, broken image, regardless of any attempts to view from different angles. Julia Schmidt sifts through the Internet and print media in search of commonplace source imagery that might suggest anonymity, subsequently cropping the image and repurposing it by re-painting it. Schmidt’s reinterpretation of mass production allows for the viewer to zero in on a single image, the artist’s hand clearly present, to find a human connection and in effect, a return to the individual experience. David Thorpe executes his frescoes with pre-modernist methods, resulting in an almost scientific approach to representations of nature in composition and illustration. A reverence for the individual is suggested, articulated by the handmade quality of each work.