Jordan Kantor

  • Tacita Dean

    Flea markets are famously fecund places. Treasure troves of detritus, they offer a rich archaeology of abandoned objects, each with its own mute, often melancholy history. For Tacita Dean, an artist deeply engaged with time’s ravages and lost or imagined narratives, the flea market has become a hunting ground for source material of all kinds. Here, in her debut as a printmaker, Dean showed three portfolios from 2001, two of which consist exclusively of images she found in flea-market photo bins.

    An artist’s book is the main work of a two-part piece titled Floh (German for “flea”; Dean, a Briton,

  • Christian Jankowski

    Robert Frost famously remarked that poetry is what gets lost in translation. Berlin-based artist Christian Jankowski seems to have taken the bard to heart, albeit turning his dictum on its head. By fashioning art out of the strange, often wonderful juxtapositions that arise in witty linguistic and visual transformations,

    Jankowski has arguably made translation itself his medium. For a 1997 piece, Let's Get Physical/Digital (recently shown at Apex Art in New York), Jankowski and his girlfriend, he in Stockholm, she in Milan, restricted their communication for a week to instant-message conversations

  • Knut Åsdam

    Knut Åsdam deals with boundaries. both physical and metaphoric. By problematizing such apparently clear-cut categories as subject/object, internal/external, and private/public, Åsdam shows how slippery binary oppositions can be. The results are often uncanny. His 1995 video Untitled: Pissing, for instance, a tightly cropped crotch shot of a man wetting his pants, tracks a transgression of social and psychic boundaries and invokes an individual in neurotic crisis. Over the past six years Åsdam has broadened his horizons to tackle similar issues on a more collective scale. Training his camera on

  • Wayne Gonzales

    By addressing the complex relation between photography and the construction and dissemination of history, Wayne Gonzales’s new work inserts itself in what appears to be a burgeoning genre: post-photographic history painting. Taking the 1963 assassination of President John F. Kennedy as their point of departure, these photo-derived acrylics (all 2001) recall other recent art that has tackled politically weighty subject matter—Gerhard Richter’s 18. Oktober 1977 paintings, Luc Tuymans’s Belgian Congo series, and, perhaps most pointedly, Andy Warhol’s own chronicles of the Kennedy assassination.