This final day of Jennie C. Jones: Dynamics, thinking about the incomparable Hilton Als (@hilton.als ) and his writing on her work: "...Jones’s drawings are about time, too; the time it took to listen, to draw, to look, and for the experience to recede into other experiences that might or might not be as full.”
If you haven't made a visit, please stop by today @guggenheim . I'll be here for last minute tours! #jenniecjones@jcjstudio#lastdayclub
Jennie C. Jones: Dynamics, an exhibition of visionary new work by Jennie. C Jones @jcjstudio on view through May 2, 2022 at the Guggenheim. Paintings, sculptures, drawings, sound installation—works that engage the physical conditions of painting, sound as ephemeral content, and the graphic forms of music notation.
Sonic strategies rendered visual. Active surfaces that are both a part of and apart from the architecture they occupy. The ache of minimalism humming and vibrating. Transcendent geometries. A prompt to be still—to sit within the impermanence and permanence of this singular visual and aural experience.
Thank you Jennie, for the honor and privilege to bring this work to the public with you. #jenniecjones@guggenheim
'When all space is filled with a monstrous fog that jumps off the horizon, my different personae are shed. A translucent body is left, and Time unfold as supreme enemy.
But that space is also an epiphany. Disasters imply a misconception of reality. The heart is a stranger to the patterns of matter of their distribution. In darkness, light's new measure.'
Etel Adnan, Fog
Final hours of #eteladnan@guggenheim
installation photos: @dmheald
To conquer the moon
With no armor
To pull the sun out
Of its orbit
And transform the ecliptic
Of the human race
Etel Adnan, Jebu
Etel Adnan, Le poids du monde 10 and 11, 2016
#eteladnan@guggenheim
Funneled by the persistence
Of waves, the sea recoils
Just to the line of the horizon
The heart establishes its equations
While history rules itself
In the next room.
Etel Adnan, from The Sky That Isn't
#eteladnan@guggenheim
Grateful for grace and mercy this year. Honoring the time together we will never have again. (also, get your kid a polaroid camera early. they can mark time and spirit in a remarkable way).
I was in turns heartbroken and full of wonder when my tiny magician asked to make a “healing crystal” costume this year. The children know. They are watching. There will be joy in our futures again. But we have to work at what future we are building for them. #bidenharris2020#voteforchange
Tony Smith, Hubris, 1969. Visualization of unrealized sculpture in concrete. @tonysmithfoundation Been thinking on the unrealized and ‘impossible’ works from the 60s that live only in imaginations or schematic drawings layered in drawers at museums and foundations. What can we learn from this dreaming at a time when one can’t commune in person with objects? Can we finally shed the bindings of institutionalized space, the limits of enclosures, and imagine something new together?
thinking back to @whitneymuseum Making Knowing:Craft in Art 1950-2019 curated brilliantly by @elisabethfsherman@jenniehg and @atrasities ...A show I saw for the third time just before the museums closed in NYC. A beautiful and revelatory exhibition that I am so happy was scheduled to be on view until 2021. 🙏🏻 to see again in the coming months.
Images: Ree Morton, @jeffrune and Nick Cave, Mike Kelley (detail), Alan Shields (detail), @liza_lou_studio , @marie_watt_studio
Details from new paintings by Firelei Báez @jamescohangallery a stunning new body of work. Still thinking about those knotted tendrils in “Untitled (Anacaona)” 2020. 💫 @fireleibaez .
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From the gallery:
“....new paintings in which figuration, symbolic imagery, and calligraphic gesture are overlaid onto large-scale reproductions of historical maps and documents. Driven by the migrant experience of navigating and articulating spaces that are both familiar and physically distant, Báez's new body of work is grounded in archival research into individual and collective modes of organizing space: the ways in which built infrastructure—and conceptions of place and community—reflect and reinforce social relations conditioned by gender, race, and class.”
