New York

Jennifer Bolande

John Gibson Gllery

Jennifer Bolande has built a career from slippery, almost ephemeral visual statements. Though she has always enjoyed spinning out image-puns alongside the vast majority of her more attention-grabbing contemporaries, it’s never been in the service of an easily paraphrasable message about identity or politics, or both. In fact, it isn’t until you “get” her pieces that the peculiarities of her investigation begin to sink in. Bolande probes the sorts of slippages that take place in everyday life: the moment when one thing momentarily overlaps with another and the distinctions between objects, between the real and the imagined, become suddenly and irretrievably suspect.

Mining roughly the same vein as John Baldessari’s early ’70s deadpan pseudodocumentary photography or the current work of Jeanne Dunning, Bolande’s most recent exhibition focused largely on photographs arranged in a narrative

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