PRINT November 2010



Composite of actual and proposed sites for installations of Jennifer Bolande’s Plywood Curtains, Los Angeles, 2010. Photo: The artist.

SINCE THE EARLY 1980S, Jennifer Bolande has been making smart, witty, and fresh work that is as inspiring to younger artists as it is difficult to force into the convenient categories the marketplace prefers. Her idiosyncratic sculptures and photographs (photographic sculptures and sculptural photographs) often make use of overlooked aspects of everyday life. They employ an associative strategy that at first seems effortless, but that on closer examination spirals outward from object to medium to other artworks to the culture at large. In attempting to articulate this chain of associations, I find myself stumped by how clear Bolande’s works first appear and by how complex they become when formulated into language.

Emi Fontana’s West of Rome is a nomadic space that has been home to some of the most interesting art exhibited in Los Angeles of late. Typical in its paradoxically simple

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