DATE 3/30/2018

Inscrutable and disorienting: Rineke Dijkstra

DATE 3/29/2018

'Ice Cream Headaches' launch event at Pilgrim Surf

DATE 3/25/2018

Modern Women, Greta von Nessen

DATE 3/24/2018

Modern Women, going, going, strong

DATE 3/22/2018

Celebrate Women's History Month with 'Women in Trees'

DATE 3/21/2018

Delight, desire, surprise and trust: Design Is Storytelling

DATE 3/21/2018

Artbook @ MoMA PS1 and Mississippi Records launch 'Dead Moon: The Book' in the MoMA PS1 Book Space

DATE 3/21/2018

Mitch Epstein signing 'Rocks and Clouds' at Dashwood

DATE 3/20/2018

Alphonse Mucha was both the 'greatest decorative artist in the world' and a humanitarian philosopher

DATE 3/19/2018

A visual language meant to express beauty in 'Alphonse Mucha'

DATE 3/18/2018

BACK IN STOCK! Mina Stone: Cooking for Artists

DATE 3/17/2018

Celebrate St. Patrick's Day with a little Belfast Punk

DATE 3/16/2018

What is 'The Sausage of the Future'?

DATE 3/15/2018

The enigmatic, unreadable writings of Mirtha Dermisache

DATE 3/14/2018

Joyce J. Scott: "I skirt the borders between comedy, pathos, delight, and horror"

DATE 3/13/2018

Bringing boundless joy: Anna Zemánková

DATE 3/12/2018

Weird and beautiful: Anna Zemánková

DATE 3/11/2018

Singular, odd and inspiring: Danh Vo: Take My Breath Away

DATE 3/10/2018

Subversive, even scandalous: Francis Picabia: Littérature

DATE 3/10/2018

Mojos, mandalas and divining tools: Chris Martin

DATE 3/9/2018

Provocateurs of the human body in 'Klimt and Schiele: Drawings'

DATE 3/8/2018

Celebrate International Women's Day… 1975 to now!

DATE 3/7/2018

Celebrate Women's History Month with Marina Abramovic's rendition of 'The Ugly Duckling'

DATE 3/6/2018

Watch the Video Trailer for "Johnny Cash at Folsom and San Quentin: Photographs by Jim Marshall"

DATE 3/6/2018

René Magritte: The Revealing Image

DATE 3/5/2018

Chris Martin book launch at Spoonbill Studio

DATE 3/5/2018

Private entertainments or public show? Frida Kahlo: Her Photos

DATE 3/5/2018

SOM to launch 'The Future of Public Space' at the Strand

DATE 3/4/2018

Frida Kahlo's life in photographs

DATE 3/2/2018

Sheila Hicks: Knotting, wrapping, folding, twisting and stacking wool, linen, cotton and more

DATE 3/2/2018

The warp and weft of poetics in 'Sheila Hicks: Lifelines'

DATE 3/1/2018

Celebrate Women's History with brand new release, 'Sheila Hicks: Lifelines'

DATE 3/1/2018

Recommended Reading: Women's History Month

DATE 2/28/2018

In 'Ellen Gallagher: Accidental Records' radical aesthetic possibilities emerge from seismic cracks in the surface of things

DATE 2/28/2018

Robert Storr and Francesca Pietropaolo in conversation about 'Interviews on Art' at 192 Books

DATE 2/28/2018

Amy Sillman book event and 'Scarlet Street' screening at Metrograph

DATE 2/28/2018

'Entanglements: Plans and Accidents' at the Artbook @ MoMA PS1 Book Space

DATE 2/27/2018

Jack Whitten and the rock-bottom meaning of universality

DATE 2/27/2018

Brian Blomerth's 'XAK'S WAX' zine launch at MoMA PS1 Book Space

DATE 2/26/2018

Black History as told through 'Black Dolls'

DATE 2/25/2018

Unsentimental Wonder: Hilton Als on Alice Neel

DATE 2/24/2018

Boom boxes, break dancing and the Salsa King: Black History from Jamel Shabazz

DATE 2/23/2018

Readings in Criticism with 'unbag' at the MoMA PS1 Book Space

DATE 2/23/2018

The meaning of color, both racial and painterly

DATE 2/22/2018

Swept up by a feeling of awe: Shinique Smith in 'Four Generations'

DATE 2/20/2018

Four Generations of 'Solidary & Solitary' work by artists of African descent

DATE 2/20/2018

Celebrate 60 years of Gerald Holtom's Peace Symbol with 'Jim Marshall: Peace'

DATE 2/19/2018

Reclaiming Images of Black Women in 'Beyond Mammy, Jezebel & Sapphire'

DATE 2/19/2018

Symbols that call us into being: 'Beyond Mammy, Jezebel & Sapphire'

DATE 2/17/2018

Celebrate Black History with Mark Bradford

DATE 2/16/2018

Christian Wassmann book launch at Spoonbill Studio


SEAN ELWOOD | DATE 1/14/2016

Jennie C. Jones: Compilation

Compilation, Jennie C. Jones’ knock-out solo show of drawings, wall works, sculpture and sound pieces, recently opened at the Contemporary Arts Museum, Houston, accompanied by a superb exhibition catalogue and first-major-monograph from Gregory R. Miller & Co. (from which all images below are reproduced, except as noted).

Jennie C. Jones: Compilation
Portrait of Jones by Jason Frank Rothenberg, courtesy of CAMH.

In addition to being Jones' first solo museum exhibition, this ten-year retrospective provides evidence that what may have seemed a long, varied, and, at a glance, meandering creative journey is, in fact, one cohesive endeavor—linking bodies of work that investigate and deliver a single intention as inevitably and smoothly as an aqueduct transporting water over uneven terrain.

Jennie C. Jones: Compilation
"Sustained Black with Broken Time and Undertone," 2011.

Jones’ formal and rigorous works, spare in their modernist presence and apparently agnostic with regard to medium, provide a framework for her deep fascination with and research into parallel developments in the art and jazz avant-gardes of the 1950s and 60s.

Jennie C. Jones: Compilation
"SHHH, The Red Series #2," 2014, and "Silent Clusterfuck (bianca)," 2013.

Her work is wry conceptualism cleverly (and beautifully) wrapped in the reductivist forms of modernist painting, sculpture and sound as reimagined through the use of familiar materials and packaging related to the historical technologies we’ve used to record, preserve and replicate music—including vinyl records, cassette recordings, speaker boxes, cables, and foam sound baffles. Jones time-travels back in a quest to unify these fragments into a grand, unified theory of modernist expression.

Jennie C. Jones: Compilation
"Blue Serge," 2015, and "Quiet Gray with 3/4 Red Reverberation," 2014.

By looking through the lenses of race, art, sound and history, Jones' work teases, scolds, retraces and revisits a past where creativity and cultural progress were not—could not—be viewed together as a cohesive and dynamic single process. The fundamental divides that existed (and still exist) prevented an equal consideration of these simultaneous explorations.

Jennie C. Jones: Compilation
"Duchamp's Inner Ear," 2014-15.

While in Houston, I also visited the world-renowned Menil Collection. Walking through an exhibition drawn from the permanent collection, I was struck by the number of works that would show well with those of Jennie Jones—including Ellsworth Kelly, John McCracken, Barnett Newman and Susan Frecon to name just a few. I suspect the Menils would like her work.

Jennie C. Jones: Compilation
"Bass Traps with False Tones #1 & 2," 2013.

This train of thought brought another issue home for me, which is the particular significance of seeing Jones' work so beautifully and respectfully installed at the Contemporary Arts Museum, Houston—at this particular museum, in this particular town.

Jennie C. Jones: Compilation
"8 Track," 2007.

The Contemporary Arts Museum, Houston gave (and I list these artists in no particular order) Agnes Martin, Trenton Doyle Hancock, Cindy Sherman, Clifford Owens, Dario Robleto, MacArthur Binion, Alvin Baltrop and Dorothy Hood (among many others) their first solo museum exhibitions. CAMH has regularly opened its validating doors to serious and accomplished artists long before most venues even knew who they were. Jennie C. Jones is not an unknown, and it would seem silly to refer to her current, elegant exhibition as being “risky,” but it is her first and it is where it is. That adds, I think, a credential to both the artist for being invited to show at CAMH and to the institution for having her accept. Instead of “risk,” call it intelligence… the kind of tradition that both an artist and a place can help build and bask in.

Jennie C. Jones: Compilation
Designer Miko McGinty, publisher Gregory R. Miller, CAMH senior curator Valerie Cassel Oliver and Jennie C. Jones at the opening. Photograph by Sean Elwood.

SEAN ELWOOD is Director of Programs & Initiatives at the New York nonprofit artist advisory, Creative Capital. Prior to joining Creative Capital in 2000, he was Curator/Collection Manager for the Seattle Arts Commission, Director at Ronald Feldman Fine Arts and Manager of the Art Residency Program at Centrum Foundation. He is the founder of SEEDITIONS Art Publishing Company and Fuller/Elwood Gallery in Seattle. He currently serves on the board of Triple Canopy and on advisory boards for Lower East Side Printshop and the New Foundation, Seattle.

Jennie C. Jones: Compilation

Jennie C. Jones: Compilation

Cloth, 8.25 x 10.5 in. / 156 pgs / 70 color.

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