Blue Serge, 2015
Acoustic absorber panel and acrylic paint on canvas
48 x 36 inches
121.9 x 91.4 cm
Blues in C Sharp Minor (for Teddy Wilson), 2015
Acoustic absorber panel and acrylic paint on canvas
48 x 48 x 4 inches
121.9 x 121.9 x 10.2 cm
Quiet Gray with Red Reverberation #2, 2014
Acoustic absorber panel and acrylic paint on canvas
48 x 38 inches
121.9 x 96.5 cm
SHHH, The Red Series #2, 2014
Noise cancelling instrument cable, cable ties and endpin jacks
44 x 9 x 4.75 inches
111.8 x 22.9 x 12.1 cm
Deep Tone with Bold Double Bar Line, 2014
Acoustic absorber panel and acrylic paint on canvas
48 x 48 inches
121.9 x 121.9 cm
A Score in 8 Measures (for Melba Liston), 2014
Mixed media collage on paper
8 parts
22.375 x 14.5 inches each
56.8 x 36.8 cm
Detail of: A Score in 8 Measures (for Melba Liston), 2014
Mixed media collage on paper
8 parts
22.375 x 14.5 inches each
56.8 x 36.8 cm
Sustained Gray Measure with Bar Line, 2013
Acoustic absorber panel and acrylic paint on canvas
2 parts:
24 x 24 inches (61 x 61 cm); 12 x 24 inches (30.5 x 61 cm)
Score for Six Measures with Subtone, 2013
Acoustic absorber panel and acrylic paint on canvas
6 elements:
5 elements: 12 x 36 inches (30.5 x 91.4 cm),each
1 element: 12 x 24 inches (30.5 x 61 cm)
24 x 248 inches (61 x 630 cm), overall
Bass Trap with False Tones #2, 2013
Refurbished acoustic bass absorber, wood, fiberglass, mineral wool filling, acrylic paint and fabric
36 x 24 x 12 inches
91.4 x 61 x 30.5 cm
Electric Clef, 2010
Neon Instrument Cable, wire and neon twine
52 x 10.5 x 6.25 inches
132.1 x 26.7 x 15.9 cm
Jennie C. Jones
b. 1968

Jennie C. Jones  practice mines the territory of Modernism—abstraction and minimalism; experimental jazz; and seminal political and social shifts—to reveal the complex and often parallel legacies of the mid-20th century’s social, cultural, and political experimentations.  Jones brings to light the unlikely alliances that emerged between the visual arts and the imprint of jazz, highlighting the way they became and continue to exist as tangible markers of social evolution and political strivings. 
" As a conceptual artist, Jones is adept in a variety of media including the visual genres of painting, sculpture, and drawing, as well as sound. In fact, her work often intertwines these media. Jones frequently uses iconic phrasing from jazz vocalists and instrumentalists as raw material that she fragments, disrupts, and dissolves into associative sounds, which in turn function as distinct installations or in combination with sculpture or installations of her now emblematic “Acoustic Paintings.” These Acoustic paintings–minimalist in nature–are composed using monochromatic canvases with soundproof panels. The resulting works, often presented as a suite or installation, evoke a physiological response by the viewer, whose recognition of the material triggers an internal expectation of sound. Jones plays upon this psychological expectation, and she often incorporates fragmented sound to mine deep emotional and psychological territories. This practice is evident in an exhibition she created entitled From the Lowinwhich the artist created a suite of black on black paintings. This suite of paintings was combined with a sound composition or “re-composition” appropriated from low, deep cords and dark notes extracted from the music of well-known jazz musicians. Jones has continued this exploration into the intersections of politics, history, the practice of minimalist painting, and the language of experimental, improvisational jazz with her most recent installation Higher Resonance presented at the Hirshhorn Museum and Sculpture Garden (2013)."   -- Valerie Cassel Oliver
Jones was born in Cincinnati, Ohio, in 1968, and currently lives and in Brooklyn, New York. She attended Rutgers University’s Mason Gross School of the Arts where she received her Master of Fine Art degree in 1996. Prior to that she attended The School of the Art Institute of Chicago, receiving a Bachelor of Fine Art in 1991 with Fellowship. She is currently a Lecturer in MFA Sculpture Department at Yale University. Among her numerous awards, Jones is 2016 recipient of the Robert Rauschenberg Award presented by the Foundation for Contemporary Art.
Jones’ work has been exhibited at major national and international art institutions including solo presentations at the Atlanta Contemporary Art Center (2009); Yerba Beuna Center for the Arts in San Francisco (2011); The Kitchen in New York (2011); and Hirshhorn Museum and Sculpture Garden, Washington, D.C. (2013). Compilation, a ten-year survey exhibition of her work curated by Valerie Cassel Oliver, was on view at the Contemporary Arts Museum Houston from December 12, 2015 through March 27, 2016. A book published by Gregory R. Miller with essays by Valerie Cassel Oliver, Hilton Als, and George E. Lewis along with conversation between Jones and Huey Copeland accompanied the exhibition.
Jennie C. Jones
September 8 - October 8, 2016
Jennie C. Jones, Josephine Halvorson, Leslie Hewitt
December 10, 2015 - January 23, 2016
Jennie C. Jones
March 6 - April 5, 2014
Selected Press
Jennie C. Jones
New York Times
July 10, 2010
Johnson, Ken. "Jennie C. Jones: 'Electric'." Review of Electric, Sikkema Jenkins & Co.
Jennie C. Jones
The Brooklyn Rail
September 2010
Landres, Sophie. "JENNIE C. JONES Electric." Review of Electric, Sikkema Jenkins & Co.
Jennie C. Jones
Winter 2012
 Vitiello, Stephen. "Jennie C. Jones." Review of Absorb/Diffuse, The Kitchen, New York.
Jennie C. Jones
Washington Post
May 31, 2013
O'Sullivan, Michael. "The eyes have it, but so do the ears." Review of Higher Resonance, Hirshhorn Museum and Sculpture Garden.
Jennie C. Jones
January 12, 2016
Campbell, Andy. "Jennie C. Jones." Critics' Pick for Compilation, Contemporary Arts Museum Houston.
Jennie C. Jones
Art Papers
March-April 2016
Johnson, Kelly. "Jennie C. Jones: Compilation." Review of Compilation, Contemporary Arts Museum Houston.
Jennie C. Jones
Jennie C. Jones: Compilation
Texts by Valerie Cassel Oliver, Hilton Als, and George E. Lewis Interview by Huey Copeland Hardcover, 156 pages Published by Gregory R. Miller &
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Jennie C. Jones
Anonymous Was A Woman Award

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