Wendy Vogel

  • View of “Jennifer Bolande Landmarks,” 2012. From left: Side Show, 1991, cibachrome, frame, 55 x 32“;  Aerial Phonograph, 1991/2010, cibachrome on record album, formica base, turntable with motor, 28 x 16 x 16”.
    picks February 10, 2012

    Jennifer Bolande

    Working between photography and sculpture, Jennifer Bolande collapses objects into images and creates photographs that resist the medium’s flatness. Bolande, now based in Los Angeles, came of age in New York during the late 1970s. With an emphasis on the artist’s relatively lo-fi aesthetic and funky material choices, “Landmarks” celebrates Bolande’s absurd humor, an aspect that can often be overshadowed in the historicization of her Pictures generation peers.

    Some of her best riffs appropriate the work of her fellow artists. Aerial Phonograph, 1991/2010, an homage to Jack Goldstein’s records,

  • Jennifer West, Daisies Roll Up Film (16mm color and b&w film neg rolled with hard boiled eggs, oranges, lemons, avocados, pickles, green apples, milk and watermelon – a remake of a scene from Vera Chytilova’s 1966 film, Daisies – rolling off the bed performances by: Mariah Csepanyi, Finn West & Jwest, lit with black light & strobe light), 2008, still from a color film in 16 mm, 5 minutes 53 seconds.
    picks July 29, 2010

    Jennifer West

    Jennifer West’s first solo museum exhibition in the United States comprises five experimental short films in which she documents the traces of allegorical and alchemical performance actions. Hypnotic and chromatically saturated, these nonlinear works are created through and in response to singular repetitive gestures. West draws inspiration equally from popular recreation (darts puncture clear film leader, snowboarders shred on a film of a moonlit sky, and a wild session of Guitar Hero is seen through acidic washes) and high art (two films re-create, respectively, Pollock’s 1950 Lavender Mist

  • View of “Keep It Slick: Infiltrating Capitalism with the Yes Men,” 2010. Hanging from the ceiling: SurvivaBalls.
    picks May 17, 2010

    The Yes Men

    Culture jamming comes full circle from the fringes to institutional validation in “Keep It Slick: Infiltrating Capitalism with the Yes Men” the first solo exhibition of the collective’s antics. The show includes props, PowerPoint presentations, and media reports of Andy Bichlbaum and Mike Bonanno’s best-known examples of “identity correction,” their technique of impersonating the officers of corporations in order to expose the executives’ malicious intentions. Though hijacking mass media has been an avant-garde tradition from the mid-twentieth century onward, the Yes Men’s ability to seamlessly

  • Jonathan Marshall, Quest of Sight, 2009, still from a color video, 29 minutes.
    picks February 11, 2010

    Jonathan Marshall

    Inaugurating Art Palace’s new Houston home, Jonathan Marshall’s “Doubled Vision”––his second solo exhibition at the gallery––offers a new chapter in his homespun folk mythology. Quest of Sight, 2009, an almost thirty-minute-long video that is part western, part sci-fi epic, combines segments from the artist’s older videos with new footage shot in remote Texas locations. Nearly devoid of dialogue, the work introduces three self-styled adventurers fated to meet one another: Lenny, a mop-bearded nomad, played by Marshall; Johan Pilgrim, a ruggedly sexy cowboy; and Skelebones, a beach-dwelling witch