new-york

Jordan Kantor, Untitled (113590 rev 2), 2011, oil on linen, 21 x 28".

Jordan Kantor

Churner and Churner

Jordan Kantor, Untitled (113590 rev 2), 2011, oil on linen, 21 x 28".

The purring and ticking of a 16-mm projector in the first room of Jordan Kantor’s latest exhibition signaled a certain quaintness. That the film takes Monet’s haystack paintings—or rather, photographic reproductions of them—as its subject only underscored that sentiment (but not, in the event, an unselfconscious sentimentality). As some of the more widely circulated images from the latter half of the last century, the Impressionist master’s Les Meules, 1890–91—studies of the most fleeting atmospheric conditions—now bear all the permanence of the commonplace. That ready-made charm is here subjected to a playful taxonomy. The three-minute-and-eighteen-second-long silent film, also titled Les Meules (all works cited, 2011), sutures together more than 1,400 photographs—nearly all of them gleaned from the Internet—of Monet’s twenty-five-canvas suite.

Taken

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