Glistening and seductive, Jeanne Dunning’s recent photographs and videos investigate the ambivalent and loaded excesses of luxury. Like the commercial photographer who knows the studio tricks that make a plate of food look like the throes of passion, Dunning’s five large Cibachromes (The Brown, The Red, The Yellow, The White, and The Pink; all works 1996) of close-ups of various foodstuffs (speculatively identifiable as tightly cropped details of, respectively, chocolate icing or pudding, beets, baby asparagus, cocktail onions, and pink grapefruit) become abstract landscapes of a kind of