REVIEWS

/ JENNIFER PIEJKO
View of Malick Sidibé’s “Chemises,” M+B Gallery, Los Angeles, 2017.
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Jennifer Piejko

Only someone with a lying mouth, according to Yoruba oral tradition, would speak first and look for visual confirmation second.(1) Untold centuries later, the expression retains its value: photography’s maneuvers depend on the fact that truth is determined by the eye. The complete history of photography is inextricable from colonialism in... continue reading
Paul Thek

HANNAH HOFFMAN GALLERY, Los Angeles

View of "Paul Thek," Hannah Hoffman Gallery, Los Angeles, 2016-17.
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Jennifer Piejko

There is no more poetic organ than the human heart: a blood-soaked snarl of muscle tissue whose constriction is our literal life force, its cadence—its pulse—has been held accountable for not only bodily function but as the instrument of conscience, intention, love, and courage; a spiritual and corporal engine. The... continue reading
Art Basel and Liste

ART BASEL, Basel

View of Art Basel’s Unlimited section, Art Basel 2016.
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Jennifer Piejko

When word got out that Hervé Falciani, a dapper systems engineer at HSBC’s hushed private bank in Geneva, had lifted the identities and details of 130,000 account holders in 2008, the Swiss government was put in the unfortunate position of having to ask its neighbors to extradite this thief or... continue reading
View of “Jean Baudrillard’s photography: Ultimate Paradox,” Château Shatto, Los Angeles, 2016.
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Jennifer Piejko

In “Ultimate Paradox,” swaths of rich, saturated color hang across each of 20 framed photographs. Rust-hued powdery tree trunks overshadow a flittering, out-of-focus leafy green background (Alentejo, 1993), an angle which would have required the photographer to climb several meters into the tree’s branches; the acid-azure knotted tree trunk shot in Vaucluse (1992) matches an overstuffed... continue reading
Willem de Rooij’s “Legal Noses”

REGEN PROJECTS, Los Angeles

View of Willem de Rooij’s “Legal Noses,” Regen Projects, Los Angeles, 2015.
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Jennifer Piejko

Brown is a composite color, made by combining complementary hues—a warm neutral. It’s only itself when contrasted with a brighter shade; fuschia or aqua always appear so, while brown is brown only in comparison to another color; its visibility is dependent on the color next to it. Over centuries, brown’s... continue reading
“Bad Conscience”

METRO PICTURES, New York

View of “Bad Conscience,” Metro Pictures, New York, 2014.
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Jennifer Piejko

Over the decades, John Miller has produced a body of work that is semi-ambiguous in concept, yet is—in terms of deadpan humor and wry observation—unwaveringly his own. In the 1980s, he made pieces that appeared to be caked in human waste, like paintings with brown splotches and appropriated objects covered... continue reading

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