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Caslon Bevington & Craig White

May 11th - June 16th, 2024

Through years of research and friendship, both artists draw from their personal image banks to incorporate photography, post-digital art, and AI influence. Anchored in the history of image production—from painting to photography (e.g., "Video Killed the Radio Star")—Caslon and Craig delve into the hierarchies of ‘resolution’, developing new language for understanding material and image-as-material.

“Leopards break into the temple and drink to the dregs what is in the sacrificial pitchers; this is repeated over and over again; finally it can be calculated in advance, and it becomes a part of the ceremony.” ―Franz Kafka, The Zürau Aphorisms (1931). For the artists, the gallery serves as the metaphorical temple, where they playfully disrupt the sacred space. Through constant revision and editing (this act of sabotage), their work is incorporated into the whole, both sanctified in a sense and rendered innocuous in another.

Caslon Bevington

Caslon Bevington (b. 1992) is a New York-based multimedia artist. Through a range of mediums, Caslon examines glitches, distortion, corrosion, and correlation of post-digital environments. Recently, Caslon's practice explores landscape painting in relation to post-digital space(s). This process—akin to an archaeological excavation—examines painting as visual semantics corresponding to the digitalization of image production.

Craig White

Craig White (b. 1994) is a New York-based artist and archivist. He received his BFA in photography and printmaking from Purchase College. Through his multidisciplinary practice, Craig works to unpack the layers of his complex American identity. With photography as a point of departure, he further reinterprets society and his surrounding environments. By reflecting on the existing state of affairs, especially concerning social, political, and religious ideologies, Craig is consistently evolving, shaping his identity in a dominant culture that frequently sidelines and overlooks his community's perspectives. Inspired by counter-cultural movements and personal archives, Craig uses printed and subverted imagery as a tool for self-expression and direct communication.

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