2018.16.A-D Jordan Wolfson, Untitled


GENERAL DESCRIPTION  
Jordan Wolfson borrows from the language of the Internet, marketing, and technology to produce challenging and ultimately ambiguous narratives. Untitled is no exception, and the assemblage serves as a self-portrait. Photos of the artist, kissing or caressing his own reflection in a mirror, are collaged over a comic sheet depicting unset­tling subject matter. This imagery is embedded in a ply­wood frame faced with wooden planks that periodically interrupt visual access to the collage like the redacting bars used in censorship. Metal hooks stud the perimeter of the frame. The two leather jackets that emerge from the composition serve as ghostly stand-ins for the artist. The artist’s portrait is fractured by images of the loss of inno­cence and the non-discriminating nature of desire. Wolfson’s provocative works represent predominant anxieties of contemporary society, especially with its emphasis on the impact of technology on sexuality, violence, and traditional systems of belief.

Excerpt from
  • Anna Katherine Brodbeck, ed., TWO X TWO X TWENTY: Two Decades Supporting Contemporary Art at the Dallas Museum of Art (Dallas: Dallas Museum of Art), 2018, 282.

NOTES
Did not get object file- streamlined process, no provenance. CLC, 11/15/18.  

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General Description
 
Jordan Wolfson borrows from the language of the Internet, marketing, and technology to produce challenging and ultimately ambiguous narratives. Untitled is no exception, and the assemblage serves as a self-portrait. Photos of the artist, kissing or caressing his own reflection in a mirror, are collaged over a comic sheet depicting unset­tling subject matter. This imagery is embedded in a ply­wood frame faced with wooden planks that periodically interrupt visual access to the collage like the redacting bars used in censorship. Metal hooks stud the perimeter of the frame. The two leather jackets that emerge from the composition serve as ghostly stand-ins for the artist. The artist’s portrait is fractured by images of the loss of inno­cence and the non-discriminating nature of desire. Wolfson’s provocative works represent predominant anxieties of contemporary society, especially with its emphasis on the impact of technology on sexuality, violence, and traditional systems of belief.

Excerpt from
  • Anna Katherine Brodbeck, ed., TWO X TWO X TWENTY: Two Decades Supporting Contemporary Art at the Dallas Museum of Art (Dallas: Dallas Museum of Art), 2018, 282.

Fun Facts

Archival Resources

Web Resources
 

Notes
Did not get object file- streamlined process, no provenance. CLC, 11/15/18.  

Catalogue essays

Artist/designers

Cultures

Geography 

Process/materials

Historical periods

Individuals

Subject terms

RELATED OBJECTS 

PROVENANCE 

AUDIO ASSETS 

VIDEO ASSETS

rules
Apply To
Objects
number
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2018.16.A-D
tags
#draft
#completed
%Archived
*Contemporary Art
@Courtney
%TMS pending
%Geo pending
#routed
%copyedited_Jennie
frames (for object): AAT: 300189814
sexuality: AAT: 300055187
prints (visual works): AAT: 300041273
technology: AAT: 300056069
jackets (garments / saco / chaqueta): AAT: 300046167
comic book: AAT: 300203177
assemblages (sculpture): AAT: 300047194
marketing: AAT: 300054673
assemblage (technique): AAT: 300138696
aluminum: AAT: 300011015
stainless steel: AAT: 300010920
self-portraits: AAT: 300124534
hooks (object genre): AAT: 300400821
plywood: AAT: 300012849
censorship: AAT: 300055949
plank (wood): materials: 300012825
Wolfson_Jordan: ULAN: 500294191
leather
internet: AAT: 300265429
source file
object_notes_2_a-0348.xml.nores