new-york

Jennifer Bolande

The Kitchen

Excessive art direction is not something of which Jennifer Bolande will ever be accused. Her color photographs are the opposite of Fellman’s in every way except one: I don’t like them either. Bolande’s tiny, pale, grainy images have intentionally been made to be crude. They also come in a bizarre assortment of shapes. In some instances, this is a result of their having been printed from different parts of the same negative. A view of a path in one of the public gardens in Paris or at Versailles, for example, yields at least five of the prints in the show—two extreme verticals, one horizontal, and one roughly square (an inch by an inch), in addition to the master shot that appears to be nearly full-frame. The first vertical shows a boy on the path and a section of the hedge. The second shows the hedge and some sort of stone ornament to the right of the boy in front of a reflecting pool or

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