Jennie C. Jones explores the intersections between the visual and the acoustic with paintings, sculptures, drawings, and installations. The Pulitzer Arts Foundation will present two concurrent exhibitions in collaboration with Jones—one of the artist’s work and one curated by her.
A Line When Broken Begins Again will include a selection of new and existing paintings, sculptures, and works on paper by Jones alongside a site-specific installation that responds to the Pulitzer’s Tadao Ando-designed building and Ellsworth Kelly’s Blue Black from the museum’s permanent collection. Jones’s work engages with histories of the avant-garde in visual art and music, including conceptualism, minimalism, and Black experimental sonic traditions. Jones has developed a highly distilled visual vocabulary, primarily working with abstract geometric forms and a focused range of colors. She uses nontraditional materials such as felt, acoustic panels, and instrument strings to make paintings and sculptures that modify the acoustics of their environments, amplifying our attention to the spaces that surround us.
Jones will also curate an exhibition titled Other Octaves, which traces a loose network of figures working in the United States during the 1960s and 1970s. These artists—including Fred Eversley, Carmen Herrera, Agnes Martin, Martin Puryear, Alma Thomas, and Mildred Thompson—are of personal significance to Jones and have served as touchstones throughout her career. She notes that “by following their paths, they added a disruption or a counterpoint to the main dialogues of their era.”
