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| 2008 |
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Rodney Chester, "Bo Søndergaard, "Scener fra et dukkehjem", TheCourier-Mail, April 6, 2008 (PDF)
Bo Søndergaard, "Scener fra et dukkehjem", Magasinet, 2008 (PDF) |
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| 2007 |
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lLucy Davies, "Cosplay", Telegraph, July 6, 2007
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Marua Egan, "Imaginary Friends", The New York Times T. Magazine, February
25th, 2007
"As Diane Arbus did with her band of outsiders, Dorfman casts her
subjects in a regal, almost poetic light." |
Anna Holtzman, "Fandomania", Eyemazing magazine, Issue #1-2007 (Feb-March) |
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| 2006 |
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Alan G. Artner, "Documentary Photos Bring Unsettling Fantasy World to
Life", Chicago Tribune, June 2, 2006
"Now comes a series of doll photographs that artistically document a
real-life phenomenon as poignant as any imaginable."
Michael Workman, “Eye Exam Valley of the Dolls, “ Newcity Chicago, May 26, 2006
“It’s Dorfman's ability to capture the odd mix of sexual pathology and visual frankness that gives her photographs a veneer less of documentary than an investigation of the grotesque and macabre of the male sexual psyche, through a pan-surrealistic lens.”
Cassie Riger, “Still Lovers Book Review,” Camerawork, volume 33, Spring/Summer 2006
Slywia Czubkowska, “LALA Mida,” Przekroj (Poland), No 6/3164, March 2006
Meaghan Laslocky, “Just Like A Woman,” Courrier (Japan), June 1, 2006
Anu Partanen, “Taydelliset naiset,” Image (Norway), March, 2006
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Sacha Ettinger Epstein, “Guys and Dolls,” Black + White, (Australia), May, 2006
“Elena Dorfman unveils the surprisingly tender world of men who enjoy relationships with lifelike sex dolls”. |
Felicity Robinson, “Amori di Plastica,” Marie Claire, (Italy), March, 2006
Cate McQuaid, “It’s Not What It Looks Like,” Boston Globe, March 9, 2006
“The photographs are lovely, at once chilling and tender, and Dorfman is respectful in her portrayal”.
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| 2005 |
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Ilaria Bernardini, “Baciami Stupido,” Rolling Stone (Italy), December, 2005 |
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Susan Morgan, “Roads Less Traveled: Elena Dorfman, Still Lovers,” Aperture, November/December 2005
“Although there is always a fictive element to Dorfman’s photographs, in that an inanimate object takes the leading role, the images are never composed as tableaux vivants orchestrated by the artist. The scenes – of boudoir intimacy, transfixed television viewing, cemetary visits – are generated from the lives of the subjects”. |
William Hannigan, “Hot Books,” Hotshoe, October/November, 2005
“Dorfman was granted access to closed and tightly controlled worlds and she does not exploit this trust. Instead she created images that record and reveal these worlds”.
Meghan Laslocky, “Just Like A Woman,” Salon.com, October 11, 2005
Catherine Castro, “Poupees X,” Marie Claire Homme,(France) October, 2005
“Agenda,” Vogue (France) Atûo 2005
Gaël Le Bellego & Julien Blanc-Gras, “Génération Real Dolls,” Max (France), Septembre 2005
“In Play,” Radar Magazine, September/October 2005
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Amanda Doenitz, “Are Skin Pics the Latest Aphrodisiac?” Art on Paper, September/October, 2005
“Skin, specifically female flesh, is the current subject of a number of important contemporary artists. Larry Sultan’s pictures of porn-film sets, Elena Dorfman’s “Still Lovers” – portraits of men and women posed with life-like synthetic sex dolls, or Timothy Greenfield-Sander’s “XXX”. |
Katherine Nguyen, “Risqué Reading,” Picture Magazine, July/August 2005
Werner Bartens, “Lust Aus Dem Labor,” SZ Wissen,(Switzerland) May 2005
Gabriela Weiner, “Peinando La Muneca,” Paula, Chili, March, 2005
James Gardner, “Art Attack,” New York Post, February 26, 2005
“The photographs in Elena Dorfman’s “Still Lovers” exhibition are part of an elaborate post-modern game played on the viewer”.
Marta Rebón, “Amor de Plástico,” Lateral Revista de Cultura, Febrero 2005
Julia Morton, “Elena Dorfman,” New York Press, February 16, 2005
Vince Aletti, “Elena Dorfman,” Village Voice, February 2, 2005
“New York,” Photography (France), Jan/Feb. 2005
Kenneth Baker, “Reviews:National,” Art News, January, 2005 |
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| 2004 |
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“Paris Photo 2004,” Photo (France), November 2004
Suzy Menkes, “At Paris Photo, a Focus on the Power of Women,” International Herald Tribune, 9 November 2004
Simon Hewitt, “At the Fair,” Art & Auction, November 2004
Beatrice de Rochebouet, “Le Pari Contempoain de Paris Photo,” Figaro, 11 November, 2004
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Anna Holtzman, “Elena Dorfman: Still Lovers,” Eyemazing Gallery 31, Fall 2004
“When first looking at these photos, it may not be instantly apparent that these perfect-looking women are not human”. |
“Best Photography Project,” San Francisco Magazine, October 2004
Jonathon Keats, "Hot Picks," San Francisco Magazine, June, 2004
“What Diane Arbus did for circus freaks, Elena Dorfman, is doing for people who live with sex dolls: giving them humanity”. |
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| 2003 |
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Kenneth Baker, “Getting Intimate with guys and ‘Dolls.’” San Francisco Chronicle
“Not even Hans Bellmer’s genuinely creepy pictures of his own forlorn erotic puppets upstage Dorfman’s domestic studies of contemporary sex dolls and their owners”.
Marisa S. Olson, “’Valley of the Dolls’ at Modernism,” Artweek, September 2003, Volume 34, Issue 7
“In biblical traditions, we are told that the first woman was created for the entertainment of man. This work may, indeed, situate Eden in the valley of the dolls”.
“What a Doll!” Sex TV, Canadian television program
“Locating Intimacy: The Space Between,” Camerawork, Fall 2003
Blanca de Ramon-Rius, “Take me Home,” Home, Berliner Magazine, Fall 2003 |
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| 2001 |
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Elisabeth Alexandre, Marie Claire (France), March 2001 |
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Publications &
Reviews
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