Marshall Crossman's show of recent work at Dolby Chadwick Gallery explores with one exception a single theme - the class picture. Taking as her starting point those painful formal portraits made for high school or college yearbooks, compiled as page after page of alphabetized grids, Crossman obsessively examines what these images really offer us. Through the act of appropriation, she reinvents the class picture and transforms it into a kind of anti-portrait that conceals more than it reveals while also hinting at how very little can be known through such a record. Crossman seems at first most interested in the dehumanizing effects of such archiving. Her gridded figures, sometimes outlined in black, vary little in the silhouettes they cast. The endless repetitions and duplications of these bust-length portraits across the canvases create a sense of the pervasive monotony such classification most always engenders.
source: Artweek - Alicia Miller (PDF)