Jeanne Dunning

Feigen Gallery

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 consumptive desire. Using a shallow depth of field, much of these all-over paeans to moistness are teasingly out of focus, with only an area toward the middle of the photograph maintaining a rough legibility. Scale is difficult to ascertain, as Dunning’s camera tilts down on these sheeny stuffs, completely

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