Jeanne Dunning

Kinz, Tillou + Feigen

Jeanne Dunning’s photographic career has involved an extended investigation of corporeality. Since 1987 her work has tended to cluster into two groups: those images in which the familiar is made foreign by the addition of what Rosalind Krauss has called a supplement, and those in which the amorphous is made intimate through conspicuous photographic procedures. The works in the first group apply the objective, sharp-focus model of straight photography to things like an isolated mass of impossibly lustrous, cascading hair and a woman with a nipple on her tongue. The second group of images usually employs extreme close-ups, often of vegetable matter, that invoke orifices or other sites where inside and outside cannot be clearly demarcated.

In the six photographs recently on view, Dunning has combined tendencies from her earlier work: The depicted figures display their formlessness matter-of-factly,

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