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Jennie C. Jones: A Line When Broken Begins Again
Edited with text by Stephanie Weissberg. Text by Jennie C. Jones.
Three decades of Jones' minimalist explorations of visual and aural resonances, featuring her never-before-compiled writings on Ellsworth Kelly, Agnes Martin, Louise Nevelson and Alma Thomas
For three decades, American artist Jennie C. Jones (born 1968) has probed the boundaries between visual art and sound through her multimedia works. Treating abstract geometric forms and a restrained range of colors as her aesthetic base, Jones incorporates nontraditional materials such as felt, acoustic panels and instrument strings to create paintings and sculptures that modify the acoustics of their environments. The publication of this slim, smartly designed volume accompanies two concurrent exhibitions centered on Jones—one of the artist's work and one curated by her. It casts particular emphasis upon Jones' repertoire of avant-garde influences, compiling, for the first time ever, her writings on artists Ellsworth Kelly, Agnes Martin, Louise Nevelson and Alma Thomas. A new text by Jones—in which she meditates on the unexpected aesthetic and social links between multiple artists featured in her curated exhibition—also figures.
"Long Low Rest with Hum" (2025) is from 'Jennie C. Jones: A Line When Broken Begins Again.'
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FORMAT: Hbk, 10.75 x 8.5 in. / 120 pgs / 70 color. LIST PRICE: U.S. $40.00 LIST PRICE: CANADA $62 GBP £34.00 ISBN: 9780997690187 PUBLISHER: Pulitzer Arts Foundation AVAILABLE: 3/31/2026 DISTRIBUTION: D.A.P. RETAILER DISC: TRADE PUBLISHING STATUS: Active AVAILABILITY: In stock TERRITORY: WORLD
Published by Pulitzer Arts Foundation. Edited with text by Stephanie Weissberg. Text by Jennie C. Jones.
Three decades of Jones' minimalist explorations of visual and aural resonances, featuring her never-before-compiled writings on Ellsworth Kelly, Agnes Martin, Louise Nevelson and Alma Thomas
For three decades, American artist Jennie C. Jones (born 1968) has probed the boundaries between visual art and sound through her multimedia works. Treating abstract geometric forms and a restrained range of colors as her aesthetic base, Jones incorporates nontraditional materials such as felt, acoustic panels and instrument strings to create paintings and sculptures that modify the acoustics of their environments.
The publication of this slim, smartly designed volume accompanies two concurrent exhibitions centered on Jones—one of the artist's work and one curated by her. It casts particular emphasis upon Jones' repertoire of avant-garde influences, compiling, for the first time ever, her writings on artists Ellsworth Kelly, Agnes Martin, Louise Nevelson and Alma Thomas. A new text by Jones—in which she meditates on the unexpected aesthetic and social links between multiple artists featured in her curated exhibition—also figures.
