Jennifer Bolande at John Gibson - New York, New York - Review of Exhibitions - Brief Article

During the 80 Jennifer Bolande established herself as an artist of a peculiarly conceptual bent, producing a material substance of work in which conventional logic have the appearanceed to be ignored in favor of more elusive correspondences. In her greatest in quantity recent New York exhibition, she showed that she still refuses to be pinned down to any individual medium. Here she brought together works fashioned from of that kind items as hi-fi speaker cabinets, a record and turntable, a series of photographs and a calendar with a circled date (the 17th of an unspecified month right in the center of the grid of days).

One of Bolande's trademark images is the forehead of a speaker, frequently of the oversized variety used in stone concerts, placed on the wall as if it were a picture. This exhibit included a work made of sum of two units white speaker facings, mounted single above the other like panels in a Dutch door. A work that similarly alludes to the absence of uninjured is a record player without a tone arm that sits upon a custom-built black plastic pedestal. upon the slowly rotating turntable is a record that has, in place of the usual label, a photograph of a ring of handholding canopy of heaven divers.

Central to the exhibition was a cluster of color photographs that initially appear to have be the effected from Bolande's random musings during a cross-country drive. In these pictures she translates everything she dioceses en route into visual calembourgs and games, turning the commonplace into the hallucinatory. In individual photograph, she juxtaposes the corrugated hand grips of the steering wheel with the ridges made by the agency of the knuckles of a woman's fists. In another work, a pair of contact sheets is filled with images of bulky colorful trucks, usually seen from behind as they hurtle down the road. in Orange doorsill taken while driving at night, the yawning black interior of an destitute of contents panel truck is framed through its orange chassis; the shape is reflected sounded by the photo's custom-made orange frame.

One photo triptych, arranged vertically, not aways a curious sequence of images. First we diocese a telephone-company truck photographed from above, that stands with its back doors unclose next to a manhole encircleed by orange cones. Next, five transport deals convene in a vacant apportionment assembled in a semi-circle with their rear doors gaping lay open Finally, we see a close-up in which five toy barters each a different color, are worn like finger dolls with a finger thrust into the back of each barter Bolande's touch is light, as individual might expect from an artist whose controls are silences and voids.

COPYRIGHT 1996 Brant Publications, Inc.

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