Mary Jones

b. Granite Hills, NC

STATEMENT

Writing about painting in a New Yorker review, critic Peter Schjeldahl says, “No other medium can as yet so directly combine vision and touch to express what it’s like to have a particular mind, with its singular troubles and glories, in a particular body.”

 

This seems especially relevant to me.

 

I rely on process and layering to invite a psychological reading, at the edge of my control, that haptically connects to a shared consciousness. My paintings find fragments of recognizable form through an intuitive process of layered abstraction. They’re heavily worked and, along with courting improvisation and spontaneity, I’ve begun to embrace metaphors of biography as part of the content. It’s a physical process and reinforces a bodily connection; scraping, sanding, collage, industrial spray paint and house paint rollers are all utilized, embedding the motions, ghosts, construction and destruction that each painting undergoes as part of the facture.

 

The colors refer to earth, clay, and sky, but the natural color is jolted with the synthetic fluorescent orange of industry. I use commercial paint rollers and spray paint to simultaneously reference both the gesture of making a mark and its erasure to signify one’s individuation. This double function not only charts my movement across the canvas but also represents a cancellation, a ground for a new beginning, in the way that graffiti is painted out with primer on an urban wall.

In a series of works on paper, I repurpose--through collage--the stencils that I made as tools for paintings 15 years ago. These are worn, spattered with paint, and fully representative of their studio function and history. As with the roller works, the repurposed stencils cover my gestures, a reversal of their original function. I work to make a syntheses of the old and new, a literal layering of history. And the process has recently expanded. I’m using a trove of X-rays from my late in-laws. These paintings are constructed as portraits so that another kind of reversal is created--the experience of seeing the inside of someone first. The X-rays also mask the abstraction behind the images. There’s a confrontation with the transgressive technological infiltration into our lives and the radiation we submit to for all kinds of reasons.

 

Through process, the sense of the hand and the archeology of time and materials can bring painter and viewer together in an act that enlivens imagination. The work becomes a kind of biography.

 

EDUCATION

MFA, BFA, University of Colorado, Boulder

SOLO EXHIBITIONS

 

2019

Travel Light, High Noon Gallery, NYC

2017

Conversation (with Denise Adler), Hudson Guild Gallery, NYC

2016

Proxima b, John Molloy Gallery, NYC

 

2013

Studio 7D, NYC

 

2012

Floating Explosions (with Bobbie Oliver), The George Gallery, Laguna Beach, CA

2008

Jancar Gallery, Los Angeles, CA

 

2006

Jancar Gallery, Los Angeles, CA

Robert Green Fine Arts, Mill Valley, CA

 

2005

Cenci Gallery, Rome, Italy

 

2004

Robert Green Fine Arts, Mill Valley, CA

Jeffrey Coploff Fine Art, NYC

 

2003

Robert Green Fine Arts, Mill Valley, CA

 

2002

Bower of Bliss, Cynthia Broan Gallery, New York, NY

2001

Jeffrey Coploff Fine Art, NYC

Robert Green Fine Arts, Mill Valley, CA

 

2000

Jeffrey Coploff Fine Art, NYC

 

1995

Bill Maynes Gallery, NYC

 

1993

Tom Cugliani Gallery, NYC

 

1989

Hanes Art Center, Chapel Hill, NC

Ovsey Gallery, Los Angeles, CA

1988, 1986, 1985, 1983

Ovsey Gallery, Los Angeles, CA

1981
Los Angeles Institute of Contemporary Art

GROUP EXHIBITIONS

2017

The Painted Desert, High Noon, NYC

Alternative Facts, curated by Denise Adler, Pleiades Gallery, NYC 

Holding it Together, curated by Teri Hackett, Brooklyn, NY

2016

Future Past Perfect, MS Barbers Gallery, Curated by Lauren Comito, Los Angeles, CA

2015

Future Past Perfect, Projekt 722, Curated by Lauren Comito, Brooklyn, NY

Repose, Hall St. Projects, Curated by Hovey Brock, Brooklyn, NY

Phase III, Mammal Gallery, Atlanta, GA

2014 

Cultural Guerrillas, Hudson Guild, Curated by Denise Adler, New York, NY

Nature Doesn't Knock, The George Gallery, Laguna Beach, CA

2013

Flux/Quirk, The George Gallery, Laguna Beach, CA

Elven@7D, studio 7D, Curated by Allen Furbeck, New York, NY

Little Languages, Coded Pictures, Kathryn Markel Fine Arts, New York, NY

2012

Between the Two: Six Artists from New York, The George Gallery, Laguna Beach, CA

2011

Haywire, Storefront, Bushwick, NY

Paper A-Z, Sue Scott Gallery, New York, NY

Neo-Vitruvian: The Body Now, curated by Richard J. Goldstein, Hal Bromm gallery, New York, NY

 

2009

Williams Studio Art Faculty Exhibition, Williams College Museum of Art, Williamstown, MA

2008

Works on Paper, Michael Steinberg Fine Art, New York, NY

 

2007

Diving in the Decadent Ditch of Des Essientes, New York, NY

Dutch Barn Show, Clinton Corners, NY

 

2003

Timelines, Signal 66, Washington, D.C.

 

2002

Landscape, Lindsey Brown, New York, NY

 

2001

Four Painters, Lindsey Brown, New York, NY

Works on Paper, Jeffrey Coploff Fine Art, New York, NY

 

2000

Group Show, Jeffrey Coploff Fine Art, New York, NY

Le Salon, London, England

1999

Immediacies of the Hand, Hunter College, New York, NY

 

1998

Baroque Geometry, Marlborough Gallery, Chelsea, NY

Jeffrey Coploff Fine Art, NYC

485.73482 Cycles per/sec, 76 Varick, New York, NY

 

1997

Summer Invitational, Steffany Martz, New York, NY

Push, 450 B'way Gallery, New York, NY

Stellar Spectra, Mary Barone, New York, NY

The Enduring Presence, Roland Gibson Gallery, SUNY, Potsdam, NY

 

1996

The Enduring Presence, Ewing Gallery, U. Of Tenn., Knoxville, TN

 

1995

Group show, Kasmin Gallery, New York, NY

 

1994

Small Abstract Painting, Bill Maynes Gallery, New York, NY

SELECTED COLLECTIONS

The Broad Art Foundation, Los Angeles

George and Betty Woodman, NYC John Guest Ltd. (London)

Security Pacific Bank, Los Angeles

Celebrity Cruises art collection

Prudential Life

Wells Fargo Bank

The Carnation Company

BIBLIOGRAPHY

Goldner, Liz, “Nature Doesn’t Knock," http://artscenecal.com/archive/810-qnature-doesnt-knockq

Frank, Peter, http://www.huffingtonpost.com/2013/01/02/haiku-reviews-_n_2397584.html 1/02/2013

Chapline, Jonathan, http://ffffffwalls.com/2012/11/mary-jones-chelsea/ 

Estenger, Max, http://maxestenger.blogspot.com/2012/05/in-studio-with-mary-jones.html. In The Studio with Mary Jones, May 26, 2012

Kienholz, Lyn. “L.A. Rising: SoCal Artists before 1980,” The California/International Arts Foundation 2010

Mallinson, Constance. Art in America, review, May 2007

Frank, Peter. “Addition/Reduction,” Mary Jones LA Weekly Wed. January 10, 2007

Chang, Richard. ARTnews, review, June 2007

Pagel, David. Los Angeles Times, Friday, Dec. 22, December 2006

Jashinsky, Judy. “time lines,” catalogue, 2003

Garwood, Deborah. “Bower of Bliss,” catalogue, 2002

Yablonsky, Linda. “Mary Jones,” catalogue, 2002

Bourbon, Matthew. NY Arts, “Mary Jones,” review, Feb. 2000

Sheets, Hilarie M. ARTnews, “Mary Jones,” review, June, 2000

Johnson, Ken. NY Times, “Baroque Geometry,” Friday, Jan. 8, 1999

Cotter, Holland. NY Times, “Immediacies of the Hand,” Friday, April 9, 1999

Smith, Roberta. NY Times, "Hothouse" review, Friday, Sept. 6, 1996

Drier, Deborah. "Vision At Sea," catalogue, 1996

Barrett, Chris. "Happy Chaos," Metro Pulse (Tennessee) 1996

Mills, Dan. "The Enduring Presence," catalogue, 1996

Hirsch, Faye. “Mary Jones: Color Sense,” catalogue, 1995

Saltz, Jerry. Art in America, "A Year in the Life" Oct. 1994

Smith, Roberta. New York Times, "Review" Friday, Dec. 10, 1993

Frank, Peter. LA Weekly, "Art Pick of the Week" Friday, Dec. 8, 1989

Curtis, Cathy. Los Angeles Times, Calendar Galleries Friday, Nov. 24, 1989

Pincus, Robert L. Art in America, "Mary Jones At Ovsey" Sept. 1988

Donahue, Marlene. Los Angeles Times, Friday, Feb. 26, 1988, Part IV

McKenna, Kristine. Los Angeles Times, Friday, Sept. 26, 1986 Part IV

McCloud, Janet. ARTWEEK, "An Integration of Opposites," March 9, 1985

Muchnic, Suzanne. Los Angeles Times, Friday, March 1, 1985 Part IV

Pincus, Robert L. Los Angeles Times, Friday, Oct. 21, 1985

Christenberry, William. ARTFORUM, "Directions, 1983" Oct. 1983

Silverthorne, Jeanne. ARTFORUM, Oct. 1983

Ashbery, John. Newsweek, "Biennials Bloom In The Spring"

Fleming, Lee. Images & Issues, "What's At Issue Is The Issue" Sept/Oct 1983

Knight, Christopher. Los Angeles Herald Examiner, "California Living-Art Inc."

Drohojowska, Hunter. Los Angeles Herald Examiner, "Making Art In The M-Zone", June 20, 1982

Knight, Christopher. Los Angeles Herald Examiner, "Mary Jones: Art That Runs Silent, Runs Deep,” April 11, 1982