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.

• Stedelijk Museum, Amsterdam
  Learn about Wolfson's animatronic installation, Female figure.