Alexander Gray Associates
Skip to main content
  • Menu
  • Artists
  • Exhibitions
  • Art Fairs
  • News / Events
  • Press
  • Publications
  • Gallery
Menu

Jennie C. Jones: Passing Tones and Broken Chords, Germantown,

August 14 - November 8, 2020
  • Current
  • Upcoming
  • Past

Jennie C. Jones: Passing Tones and Broken Chords

Past exhibition
August 14 - November 8, 2020 Germantown
  • Overview
  • Installations
  • Related Artists
Overview
Installation view: Jennie C. Jones: Passing Tones and Broken Chords, Alexander Gray Associates, Germantown, 2020

Installation view: Jennie C. Jones: Passing Tones and Broken Chords, Alexander Gray Associates, Germantown, 2020

Alexander Gray Associates, Germantown presented Jennie C. Jones’ first exhibition with the Gallery, Passing Tones and Broken Chords. The show features new 2020 Acoustic Panel Paintings that further expand on the artist’s research into the sonic, honing her use of materials and approach to color and form.

Seamlessly integrating the visual with the aural, Jones’ paintings’ titles underscore their connection to sound. Drawing on musical terminology, works like Tempo Grave (Marking Dark Time) (2020) and Tempo Largo (Marking Dark Time) (2020) reference slow, dirge-like speeds of music. Reinforcing this solemnity, the canvases’ black panels also allude to mourning. Signaling Jones’ return to black monochromes, these two paintings are the first the artist has created since 2014.

In a departure from earlier black pieces, Tempo Grave (Marking Dark Time) and Tempo Largo (Marking Dark Time) incorporate painted acoustic panels into their compositions. Jones describes how the process of allowing paint to evenly soak into the fabric panels to create subtle tonal variations “…became an existential back and forth struggle...towards an impossible flawlessness.” Expanding on the considered nature of her works’ surfaces, she writes, “Underpainting is becoming more and more critical to my process. The layering with the ‘memory’ or passing time of previous brush work is apparent in the soft impasto and ghostly brush strokes embedded in the monochromatic surfaces.”

Like Jones’ Tempo works, the layered surface of Bright (Red) Gracenote (2020) also suggests the passage of time. The painting’s richly pigmented planes juxtapose painted felt against canvas, and recall Jones’ assertion that her surfaces “…are not flat if you move with enough deliberation, step to and from them as if within them.” Highlighting the labor required to create such effects, the artist ultimately challenges the connection between the reductive and Minimalism, characterizing her own Minimalist process as defined by “maximalist” techniques to erase her hand. As she argues, “The idea of lack can be turned on its head in order to be perceived as pure potential and opportunity. Perhaps this relates directly to African American improvisation and creative utility, to working inventively with spare means.”

Further capitalizing on the “pure potential” of her materials and evocatively spare visual language, in works like Fractured Crescendo, Red Rest (2020) Jones experiments with new applications of color. Foregrounding what she characterizes as a “hot” red acrylic, the canvas boasts a diagonal line of bright red paint across two acoustic panels. In contrast to this slashing introduction of color, Deep Structure (Oxide Rest) (2020) features uneven bands of darker red pigment that accent the channel between two panels. The artist explains, “The subtle lines inside the picture plane rather than at the edges are a way of almost painting the shadows of form, which is again a shift toward amplifying objecthood.”

Emphasizing objecthood, Jones’ painterly approach ultimately interrogates the legacy of Minimalism. “There are social and political ramifications to rejecting ‘subject’ and embracing ‘object’—as an African American woman, much more is at stake,” she concludes. “Minimalism becomes a radical gesture empowering a refusal to sell my narrative or bodies.”

Installations
Open a larger version of the following image in a popup: Jones Agagt 2020 1
Open a larger version of the following image in a popup: Jones Agagt 2020 3
Open a larger version of the following image in a popup: Jones Agagt 2020 6
Open a larger version of the following image in a popup: Jones Agagt 2020 16
Open a larger version of the following image in a popup: Jones Agagt 2020 15
Open a larger version of the following image in a popup: Jones Agagt 2020 17
Open a larger version of the following image in a popup: Jones Agagt 2020 27
Open a larger version of the following image in a popup: Jones Agagt 2020 32
Open a larger version of the following image in a popup: Jones Agagt 2020 34

Installation view: Jennie C. Jones: Passing Tones and Broken Chords, Alexander Gray Associates, Germantown, 2020

Related artist

  • Jennie C. Jones

    Jennie C. Jones

Back to Past exhibitions

Alexander Gray Associates

384 Broadway
New York NY 10013
United States


Tuesday – Saturday
10:30 AM – 6:00 PM
Telephone +1 212 399 2636

Inquires

Sales
sales@alexandergray.com

Press
press@alexandergray.com

General
info@alexandergray.com

Mailing List

Subscribe to email list for announcements
info@alexandergray.com

Privacy Policy
Accessibility Policy
Cookie Policy
Manage cookies
Copyright © 2025
Instagram, opens in a new tab.

This website uses cookies
This site uses cookies to help make it more useful to you. Please contact us to find out more about our Cookie Policy.

Manage cookies
Accept

Cookie preferences

Check the boxes for the cookie categories you allow our site to use

Cookie options
Required for the website to function and cannot be disabled.
Improve your experience on the website by storing choices you make about how it should function.
Allow us to collect anonymous usage data in order to improve the experience on our website.
Allow us to identify our visitors so that we can offer personalised, targeted marketing.
Save preferences