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Jones, Jennie C.

Permanent URI for this collection

https://hdl.handle.net/1813/3992

In 2001 I made my last work using the photo as an integral component. That piece was Homage to an Unknown Suburban Black Girl and was a part of the exhibition Freestyle at the Studio Museum in Harlem. It was described by New York Times critic Holland Cotter as a piece that "sets an enlarged found snapshot of a soft-faced, afro-coiffed child within a Mondrian-style geometric grid, as if asking what her life and modernist utopias have to do with each other."

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    Rockefeller New Media Foundation --Supplementary Material
    Jones, Jennie C. (2006-12-20T15:55:34Z)
    10 slides. 1: Methodical Birds. Tape, audio and suspended headset. Paris, 2002. 2-3: A/V, an Installation at Triple Candie. Wall drawing with various tapes. New York, 2003. 4: Head-Set #1. Ink on paper. 2002. 5: All Blues. Wall drawing & audio piece. Milan, 2002. 6-10: Listening to Modernism. Ink and collage on paper. 2003.
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    2004 Rockefeller New Media Foundation Proposal
    Jones, Jennie C. (2006-12-18T15:22:11Z)
    Dizzy Atmosphere: Sonic Suspension and Modernist Music is an interactive installation that investigates the interplay between abstract visual art and the cultural resonance and autonomy of the modernist jazz movement. A form of revisionist history, this notion has already been explored via multidisciplinary pieces that incorporate wall drawing, animation, sound and works on paper. Expanding on my current practice this project will employ the use of a chandelier-like sonic suspension device that utilizes sound as a form of atmospheric or ambient 'light.' Dizzy Atmosphere will shower the listener with an audio experience that is at once transcendental, educational, challenges the learned behavior of how we listen, and is interactive by allowing the participant to control experiential time. The audio piece itself will be based on the methodology of musical improvisation, harmonics, and counter-melody coupled with the visual aesthetics of minimalism and formalism. It is my intent to highlight the existence and contribution of early African American abstraction, I attempt a marriage of art history, black history and technology within the domain of the abstract languages they constructed.