The nature of my work is repetitive. I repeat an action over and over to come to a resolution about the material or object. This repetition and care for a specific object is also used as a glorification of that object or material; materials like toothpicks, pigs feet, and hammers. I obsess over the many. I care for the mundane. This care that I speak of is very distant from the cold factory mass production that I reference. In this way I am bringing heart to a heartless action. It is not that I want to do these repetitive actions, but that I must do them. It is a compulsion. This work also references the group mentality. All the materials used work differently on an individual basis. When grouped with many others, the materials change light, form, and weight (visually speaking) to become something different than what they would be separately. When zooming in or out, everything repeats eventually.
2009 BFA, MFA Grads Exhibit Work at Conner Contemporary Art in Washington Aug. 1-Sept. 4
WASHINGTON-MICA 2009 BFA and MFA alumni Danny Baskin (general fine arts), Alan Callander (Photography & Digital Imaging), Corey Grimsley (art history), Casey Reed Johnson (general fine arts), Jin Young Kang (Mount Royal School of Art), Alex Roulette (painting), Ryan Schroeder (painting) and Rafael Soldi (photography) are among 19 recent fine art graduates featured in ACADEMY 2009, the ninth annual invitational survey at Conner Contemporary Art, 1358-60 Florida Ave., NE. The exhibition, curated by Jamie Smith, opens Saturday, Aug. 1 and continues through Friday, Sept. 4. A reception takes place Aug. 1, 6-8 p.m. Gallery hours are Wednesday-Saturday, 11 a.m.-5 p.m.
Nearly 150 graduates have participated since ACADEMY's 2001 debut. Some have achieved international recognition, exhibiting at the Hirshhorn Museum and Sculpture Garden, Washington; Brooklyn Museum of Art, New York; Nassauischen Kunstverein, Wiesbaden, Germany; and The British Museum, London.
Baltimore City Paper Blog: By Bret McCabe | Posted 5/15/2009
But the young artist who tickled me most last evening was Danny R. W. Baskin in the Fox Building. No business cards or postcards here, just five incredibly impish pieces, including his umbrella vine-an inordinate assembly of cocktail umbrellas threaded into a rope and extending from floor to ceiling-with Baskin himself sitting right next to it, opening up these tiny umbrellas and tossing them into a pile. His absolutely insouciant works-a string of clear plastic pigs feet hanging on a line, a pile of mallets on a shelf, and "Suitcase of Guns," a small suitcase filled with images of firearms cut out of magazines-are disarmingly sophisticated. His "Portrait of Andy" is a large-scale rendering of Warhol, but you can barely make him out, as Baskin achieves the portrait in an array of small shapes, each labeled with a number, 1-5. From a distance you can make out the image, but up close it becomes array of numerical instructions, as if Baskin had created a portrait of the Pop Art as an unfinished paint-by-numbers project designed by Chuck Close. It's conceptually witty, visually playfully, and absolutely impractical, which only amplifies its fun. Go ahead, say it's not art-what else could it be?