Page 66 - World of Art Contemporary Art magazine: The 2023 Guggenheim issue
P. 66

WORLD-CLASS ART







         JENNIE C. JONES:
         DYNAMICS
         Exhibition: Jennie C. Jones: Dynamics
         Venue: Solomon R. Guggenheim Museum, 1071 Fifth
         Avenue, New York, Rotunda Levels 1 and 2, Sixth Level





         EXHIBITION FEATURES TWENTY NEW WORKS FROM THE
         ARTIST CREATED IN RESPONSE TO THE GUGGENHEIM’S
         ARCHITECTURE
         Jennie C. Jones: Dynamics is organized by Lauren
         Hinkson, Associate Curator, Collections. Many of the
         works in the exhibition incorporate architectural
         felt and acoustic panels to create what Jones calls
         “active surfaces.” These materials absorb and dampen










                                                              Installation view, Jennie C. Jones: Dynamics, Solomon R. Guggenheim Museum,
                                                              February 4, 2021–May 2, 2022. Photo: David Heald © Solomon R. Guggenheim
                                                              Foundation, 2022.

                                                              Gillian Wearing, Self-Portrait, 2000. Framed chromogenic print, 67 3/4x67 3/4x1
                                                              in. (172x172x2.5 cm). ©Gillian Wearing, courtesy Maureen Paley, London; Tanya
                                                              Bonakdar Gallery, New York/Los Angeles; and Regen Projects, Los Angeles.

                                                              sound, thus affecting the acoustic properties of their
                                                              environments and impacting the viewers’ experience,
                                                              auditory and otherwise as they move through the
                                                              exhibition. Protruding from the wall, the works are both
                                                              a part of and apart from the architectural spaces they
                                                              transform.

                                                              The pieces in the show comprise multiple components
                                                              and take the form of diptychs and triptychs—
                                                              arrangements that Jones compares to chords in music.
                                                              The surfaces of these objects balance a contained
                                                              Minimalist rigor with gestural painted marks. This
                                                              interplay between traces of the artist’s hand and signs of
                                                              its erasure suggests the tension between improvisation
                                                              and controlled structure evident in avant-garde music.
                                                              Jones channels in her hybrid objects a legacy of radical



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