New York

Jane Hammond

Galerie Lelong

We are the willing and unwilling recipients of so many altered images over the course of a day that assessing their truth content no longer seems important. As a result, the eeriness of photographic manipulation is largely lost to us. Jane Hammond brings it back, in photo-montages in which the rupture inherent to collage is held in tension with the smoothness of fact. On a neon-lit street, a car with two dead deer atop it—laid nose to nose, in the manner of a crest—stops next to two ecclesiastical figures standing with their backs to the camera, almost out of the frame, in magnificently embroidered robes (La Bendición [Blessing], 2007). A flock of sheep on a snowy mountainside surrounds a creature part human, part goat, that has risen on its hind legs and filled an archery target with arrows (Cabrito [Young Goat], 2007).

The best works in this exhibition are, like these two, beautifully

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