new-york

Jennifer Bolande

Metro Pictures

Jennifer Bolande’s recent exhibition was her largest and most ambitious so far; it included a disparate selection of sculpture, photography, and works combining both media. Neither cohering visually nor commanding the space in a traditionally assertive way, the works were, in part, unified by the fact that each one helped to construct a discursive space between sculpture and photography. In the case of Milkcrown, 1987–88, Bolande fashioned a cast porcelain after Harold Edgerton’s well-known high-speed image of a milk-drop splash. Edgerton’s image is transformed by Bolande into a sculpted crown, making a pastiche of the photographer’s will to get a firm grip on nature by capturing its invisible moments through representation. The history of this milk-drop splash—from its moment as a physical phenomenon, to the first representation of it in Edgerton’s photograph, to Bolande’s sculpted edition

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