Collectors’ Favorites is an episode of local cable program from the mid-1990s in which ordinary people were invited to present their personal collections—a concept that in many ways anticipates current reality TV shows and internet videos. When it comes her turn to “perform,” Bornstein displays mundane and disposable—but elaborately archived or framed—consumer objects such as coffee lids, plastic straws, candy wrappers, and product labels. Through the medium of public broadcasting, then, she makes visual the frequently overlooked but massive cultural penetration of advertising, and its proliferation of “throwaway culture” via images. Further, Bornstein suggests that within a massive and mercurial social network that often places value arbitrarily, any worthless mass-market products can be turned into coveted objects via absurd relations and vice versa.
Jennifer Bornstein’s works range from performance, conceptual photography, film, drawing, and etchings to curatorial practice. By foregrounding the self-constructed nature of narrative and subjectivity, Bornstein’s practice is a constant rethinking of relations, both social and historical—but not so much in terms of negation and rupture, but rather connection, mutuality, and reintegration.
In the work titled The Glossies (1980), an affinity for photography manifested itself before McCollum actually began to use photography as a medium...
This series of small drawings is executed with varying materials—pen, ink, colored pencil, charcoal, and masking tape—on architect’s tracing paper...
Compositions such as Tree on Keystone (2011) become hyperreal versions of their real-world equivalents...
Golia’s Untitled 3 is an installation in which a mechanical device is programmed to shoot clay pigeons that are thrown up in front of a white wall...
The White Album (2008) presents a compilation of one hundred issues of Artforum magazine released between 1970 and 1979...
In Thomson’s Untitled (TIME) , every front cover of TIME magazine is sequentially projected to scale at thirty frames per second...
The Class (2005) by Araya Rasdjarmrearnsook challenges the viewer’s personal sense of morality and tolerance by depicting a classroom from hell...
The work Calendars is composed of 1001 images of deserted public areas in Singapore printed on pages of a calendar set from the year of 2020 until 2096...
Blalock resists the immediacy that we have come to expect from photography—that each photograph should communicate its message without delay...
Ammo Bunker (2009) is a multipart installation that includes large-scale wall prints and an architectural model...
603 Football Field presents a soccer game played inside a small student apartment in Shanghai...
Tino Sehgal’s This Exhibition requires an interpreter (in this particular piece, a gallery attendant) to faux faint each and every time a visitor enters into a given space...
Gabriel Orozco often documents found situations in the natural or urban landscape...