MEDIA: Outsize watercolors of New York Times front pages; sculptures; installations; videos
BONA FIDES: Included in last year's Whitney Biennial and in the collections of the Hammer Museum and LACMA.
BACKSTORY: Manley loves the idea of the remix. For his ongoing shot-for-shot reimagination of The Great Train Robbery, which he was drawn to for the classic 1903 Western's innovative editing and narrative techniques, he uses painting, animation, and video to slowly—very slowly—re-create the movie from scratch. "Dashiell's work is compelled by various forms of time and narrative structures," notes Michelle Grabner, an acclaimed artist who worked with Manley when she co-curated the 2014 Whitney Biennial and who says she's eager to see how the artist will pursue his fascination with developing modes of communication. In recent work, the native Californian has been using watercolor pencils to transcribe the entire front page of the New York Times from a few days prior—traces of the past few months' news cycle eerily repeated in the scrawled words Ebola, Ferguson, Ukraine, and ISIS. "I would like to think Ihave a subjective relationship to the news and current events, but it affects me on a primal or emotional level," Manley says from his studio in L.A.'s Echo Park. "When I started this project, the first few weeks made me incredibly depressed. But I became interested in the value of the newspaper, which contains what you need to know about today but is worthless tomorrow. The speed and rapidity at which these objects lose their value was the primary interest."