Even though Alison Jackson isn't a household name, much of her work is recognizable: Queen Elizabeth on the toilet, Barack Obama ripping cigs on a park bench or JFK seducing Marilyn Monroe.
No, these aren't real photographs. The subjects are lookalikes, scouted and hired by Jackson and placed in specific scenarios, depending on the celebrity.
Jackson's work attempts to bridge the gap between the media's depiction of a celebrity and the less glamorous aspects of his or her real life. This typically entails placing a celebrity in some of the already discussed banal scenarios in order to grate against our larger-than-life perceptions of him or her.
But then, Donald Trump is anything but typical.
With Trump, it's not hyperbole to describe him as having a reality show personality. Between the aspects of his life he wants known and the ridiculous things he would have rather kept private, it's hard to imagine many unknowns for Jackson to explore.
In theory, countering our perception of Trump might have entailed, say, him holding the door open for a minority. Or simply being a gentleman.
Instead, Jackson paraded her Trump doppelgänger around the Trump Campaign HQ, arm-in-arm with two bikini-clad models he occasionally stopped to grope. The plausibility of this scenario seemed highly unlikely (although several onlookers did seem to believe the real Donald Trump would do this two weeks before the election).
But it was never really clear what Jackson was trying to achieve. To create a visualization of his transgressions? To simply be provocative?
Jackson has focused her career around celebrity culture, and was probably unable to resist satirizing America's first tabloid candidate. In many respects, she succeeded. But with such a low-hanging fruit, the execution left something to be desired.