Sheldon Greenberg mines the 1940s, '50s, and '60s for images of celebrity, style, and architecture, then renders them in oil on panel. His work evokes a longing for the ethos of prosperity of those decades, as well as a sense that much of that desire was invented for us by film, fashion, and Madison Avenue.
Francesca Pastine mines images in a more literal sense: by cutting and folding the pages of ArtForum magazines to create striking paper sculptures. She calls her work on this influential glossy "excavations" and readily admits that it is, for her, "a sly form of manipulating the art scene, rather than being manipulated by it."
Juan Carlos Quintana presents a series of 24 works in an installation entitled A Mambo without Swing: A Forgotten Pictorial History of the Etiology of Power. The innocence evoked by Quintana's use of whimsical imagery is parried with a brooding, ominous palette. Headwear (star-emblazoned berets, wide-brimmed sombreros, the hats of nurses, sailors, and infantrymen) figures prominently in the works, objectifying ideologies ranging from Western imperialism to Marxist revolution.