Composed from thousands of still photographs, Jesse Alpern’s videos weave successive images together to create cinematic movement. Through compulsive repetition and exaggeration, the stop-motion images explore subjective gestures and distinct characteristics.

Charles Fréger takes the individual within defined social groups and collective structures as his subject matter. His photographs of Grenadiers, a soldier originating in 17th century Europe, suggest an individuated self within a structure that largely demands the erasure of individuality.

Shaun Krupa takes his own physiognomy as the starting point for paintings, and their related process on video, made from the impression of his paint-covered face on unstretched canvas.

Andrew Guenther approaches the human figure as a grotesque body in his paintings, depicted in a haunting, brooding style that is a mixture of staining, impasto, collaged elements and painterly drips.

In Summer McCorkle’s video “Mothersmothersmothersmothersmothers” a woman in 19th century period dress is seen sitting still for six minutes, recreating the common exposure time for a daguerrotype.

In Angela Mobley’s video, “Mother,” the artist juxtaposes the idiosyncratic mannerisms and slightest movements of her mother’s face with her own exact mimicry of them.

With a related focus, Tiffany Pollack’s paintings are portraits of her friends and family—subjective documents of family gatherings, travels, and mundane but personal moments imbued with meaning.

Video, family, and the self are also juxtaposed in Tony Tasset’s “I Am U R Me,” in which the artist, his wife and son sit around the breakfast table changing places, as well as selves, through computer animation.

Suzanne Opton’s large-scale portraits of returning veterans of the Iraq and Afghanistan conflict capture their sitters’ cherubim-like heads lying on a table, their faces seen in a close-up, shallow depth of field.