DATE: June 6, 2010
Lee's color photographs of friends, strangers, and
her dying mother are tender, melancholy, and full of frustrated longing.
Most of her subjects (half of whom she first met online) appear either
nude or only partially clothed.
Jocelyn Lee, Untitled (Fiona in water), 2009,
© Jocelyn Lee, Courtesy Pace/MacGill Gallery, New York
the intimacy is artificial and sometimes strained, Lee still manages to
connect in startling ways, especially with her older sitters. But if
the work is about aging, it's also about mortality, and it finds its
most powerful focus in a series of images that revolve around her
mother's last year of life.
Read the complete review in The New Yorker.