Never one to follow a trend, Jennie C. Jones, Bard MFA faculty member, is both ahead of, and separate from, the curve. In the leadup to
Dynamics, her upcoming solo show at the Guggenheim Museum, the
New York Times profiled Jones, detailing her career and minimalist aesthetic, both visual and sonic. Musicians and scholars admire Jones’ vision for her work, which includes both physical art and sonic landscapes, seeing in her body of work “prescience and persistence.” “She asserts her right to abstraction,” says George Lewis, scholar, composer, and author. “I take Jennie as a model for saying, well, you can fight that, and you can win.”
Dynamics, like her other works, will include paintings that incorporate acoustic panels, not for broadcasting sound, but for reorienting it in the exhibition space, changing the viewer and listener’s experience, depending on their location. Jones sees her work as progressing toward a more courageous place, though still not in the mainstream—but that’s by design. “It’s not like I’m working at the margin because I’ve been placed there,” she says. “As much as I’ve always been the weirdo on the periphery, I’m happy here.”
Read More in the New York Times
Photo: Jennie C. Jones.
Meta: Type(s): Faculty | Subject(s): Faculty,Diversity, Equity, and Inclusion,Bard Graduate Programs | Institutes(s): MFA |