David Schaffner grew up in Ithaca New York; He received a BFA in painting and printmaking from SUNY Oswego in 1986. He currently resides in Ithaca where he finds inspiration in his environment to create new works.
Since 1994 he has been co-curator with the Art Barn at The Finger Lakes Grassroots Festival. David's work can be viewed publicly at Cornell University’s Robert Purcell Union, Kennedy Hall, and the College of Veterinary Medicine.

David's drawings are based on scenes from Michelangelo Antonioni's “Red Desert” (1964).
Each drawing represents a frame from the movie via the artist’s memory: an experiment in
how we interpret what we see and how that carries over into our memories.
The complete series consists of 15 pastel drawings.


Randi Millman-Brown is an art historian, image curator, photographer and writer living in Ithaca, NY. She has a masters degree in Art History from the University of Oregon and a bachelors degree in Photography and Studio Art from SUNY Potsdam. She currently works at Ithaca College in the Art History Department as the Visual Resources Curator and also teaches art history part-time for TC3. In her spare time she writes a blog on color (see link below) and enjoys traveling, visiting museums and hiking with her family. HYPERLINK "http://lifeincolor-randi.blogspot.com/"http://lifeincolor-randi.blogspot.com/

Randi's images reproduce a grid of slides of well-known paintings, sculpture and architecture. They are copies of copies of copies of original portraits, of buildings, of Greek gods and goddesses. However, the reproductions of these faded 35mm slides make us realize that these slides are being discarded. Therefore the images stand as something of an elegy for the passing of a medium - slide film — a photograph of an original item. It is also a lament for the loss of color of the original painting or photograph itself. This image has layers of history: the person, the painting, the photograph of sculpture or building, the slide itself, and the compiled grid of faded slides.

"A lot has been written regarding the photograph’s resonance with mortality and the transitory. After all, any photograph presents a vivid description of something (or someone) that is irretrievably remote in both space and time. The piece “Deassession” is, I think, a kind of double lament. It can’t help but acknowledge the photograph’s characteristic commerce with time, memory, and ephemerality, and it extends that sense of loss to a consideration of the medium itself." Steve Skopik, State of the Art Gallery, March 2010.