Podcast appearances and mentions of Jennie C Jones

When the artist Jennie C. Jones listens closely to a piece of music, she's particularly attuned to its pauses, in-between moments, and breaks. Widely celebrated for her abstract works in painting, sculpture, and sound art that, in many instances, incorporate architecture or space—through which she often elevates undersung or little-known Black artists and musicians—her practice is largely informed by minimalism and color field painting, as well as by jazz and avant-garde music. Jones currently has two exhibitions on view at the Pulitzer Arts Foundation in St. Louis (through Feb. 1, 2026): “A Line When Broken Begins Again,” which features a selection of new and existing paintings, sculptures, works on paper, and sound pieces, and “Other Octaves,” a group show she curated of works by artists who have been formative to her practice. She was also commissioned to create the 2025 rooftop installation at New York's Metropolitan Museum of Art.On this episode of Time Sensitive, she discusses what listening as a conceptual practice looks like in action, the art of putting together a playlist, and her deep love of things tactile and analog.Special thanks to our Season 12 presenting sponsor, Van Cleef & Arpels.Show notes: [04:35] “Jennie C. Jones: A Line When Broken Begins Again” (2025)[04:35] “Other Octaves” (2025)[04:57] Carmen Herrera[04:57] Agnes Martin[04:57] Martin Puryear[04:57] Alma Thomas[04:57] Mildred Thompson[05:21] A Free and Shifting Tonal Center (2024)[7:26] Ellsworth Kelly[11:44] Fred Moten[11:44] “Dynamics” (2022)[13:02] Trisha Brown's “Leaning Duets” (1970)[14:40] Tadao Ando[14:55] “These (Mournful) Shores” (2020)[17:21] Moses Williams[17:21] Louis Dotson[18:20] Richard Tuttle[30:25] Olly Wilson[31:28] Maryanne Amacher[31:28] Arthur Russell[37:10] Jennie C. Jones: Compilation (2015)[38:30] “The Theater of Refusal: Black Art and Mainstream Criticism” (1993)[42:25] “Slow Birds” (2004) [42:25] "Slowly in a Silent Way, Caged” (2010)[42:25] Charlie Parker[1:09:47] “Jennie C. Jones: RPM (revolutions per minute)” (2018)[1:12:06] “Ensemble” (2025)

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What is hidden in the 'empty' spaces of an art museum? The Met is more than a museum of art. It is a city unto itself: population 2,000, with a transient population of 5 million. The Met is 21 buildings nested together like puzzle pieces, and it takes 400,000 light bulbs to illuminate all the spaces. But who actually changes those light bulbs? In this episode, peek behind the curtain and meet the people who maintain the hidden ecosystem of The Met. Guests: Marco Leona, David H. Koch Scientist in Charge, The Met Eric Breitung, research scientist, The Met Anna Serotta, conservator, Objects Conservation, The Met Louisa Lam, security officer, The Met Frida Escobedo, architect Featured artworks: Coffin of Irtirutja, 332–250 BCE. Egypt: https://www.metmuseum.org/art/collection/search/551163 Vincent Van Gogh, Cypresses, 1889: https://www.metmuseum.org/art/collection/search/437980 For a transcript of the episode and more information, visit metmuseum.org/immaterialspacepart2 #MetImmaterial Immaterial is produced by The Metropolitan Museum of Art and Magnificent Noise and hosted by Camille Dungy. Our production staff includes Salman Ahad Khan, Ann Collins, Samantha Henig, Eric Nuzum, Emma Vecchione, Sarah Wambold, and Jamie York. Additional staff includes Julia Bordelon, Skyla Choi, Maria Kozanecka, and Rachel Smith. Sound design by Ariana Martinez and Kristin Muller.Original music by Austin Fisher.Fact-checking by Mary Mathis and Claire Hyman. Immaterial is made possible by Dasha Zhukova Niarchos. Additional support is provided by the Zodiac Fund. Special thanks to Maureen Catbagan, Iva Keselicova, Michael Millican, Elizabeth Reyes Moreno, Sarah Freshnock, Avery Trufelman, and Jennie C. Jones.See omnystudio.com/listener for privacy information.

A new exhibition at the Guggenheim Museum uses sound and the unique architecture of the Guggenheim to create an engaging aural experience. The artist Jennie C. Jones uses both paint and recorded sound for the show, which is titled Dynamics. She joins us to discuss what it's like to create an exhibition inspired by a museum's space, and the influence of jazz and 20th century radical Black sonic practitioners in her work. Dynamics is on view until May 2.

Right now at the Guggenheim Museum in New York City, there's an exhibition of paintings on view that might remind you of the postwar abstractions of painters like Barnett Newman and Agnes Martin, who made a virtue of empty space and muted palettes. The difference is that the paintings at the Guggenheim today are not just meant to be looked at and admired. No, they are meant to be listened to—and that's because the artist, Jennie C. Jones makes art that is as aural as it is visual, building her compositions directly onto acoustic panels, her signature material in order to shape the sound of the rooms in which they are installed. For Jones, this barely perceptible effect is a way of paying deep homage to the black architects of mid-century avant-garde music, such as free jazz pioneers who turned strategic silence into a statement. "Listening" Jones has said, "is a conceptual practice all on its own." . On the occasion of the exhibition, which is called "Dynamics" and acts as a mid-career survey of the artist's unique body of work, Artnet News's features writer Taylor Dafoe met Jones at her studio in Hudson, New York, where they talked about embracing gesture, John Coltrane, and the artist's own upstream path to recognition.

Right now at the Guggenheim Museum in New York City, there's an exhibition of paintings on view that might remind you of the postwar abstractions of painters like Barnett Newman and Agnes Martin, who made a virtue of empty space and muted palettes. The difference is that the paintings at the Guggenheim today are not just meant to be looked at and admired. No, they are meant to be listened to—and that's because the artist, Jennie C. Jones makes art that is as aural as it is visual, building her compositions directly onto acoustic panels, her signature material in order to shape the sound of the rooms in which they are installed. For Jones, this barely perceptible effect is a way of paying deep homage to the black architects of mid-century avant-garde music, such as free jazz pioneers who turned strategic silence into a statement. "Listening" Jones has said, "is a conceptual practice all on its own." . On the occasion of the exhibition, which is called "Dynamics" and acts as a mid-career survey of the artist's unique body of work, Artnet News's features writer Taylor Dafoe met Jones at her studio in Hudson, New York, where they talked about embracing gesture, John Coltrane, and the artist's own upstream path to recognition.

This episode is also available as a blog post: https://thecitylife.org/2022/02/04/jennie-c-jones-dynamics-on-view-at-the-guggenheim/ --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/citylifeorg/message Support this podcast: https://anchor.fm/citylifeorg/support

This episode is also available as a blog post: https://thecitylife.org/2021/12/19/guggenheim-presents-jennie-c-jones-dynamics/ --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/citylifeorg/message Support this podcast: https://anchor.fm/citylifeorg/support

The winner of the 2012 Joyce Wein Artist Prize discusses the relationship in her work between visual art and sonic art. 

The winner of the 2012 Joyce Wein Artist Prize discusses the relationship in her work between visual art and sonic art. [26:26]

The winner of the 2012 Joyce Wein Artist Prize discusses the relationship in her work between visual art and sonic art. [26:26]

The winner of the 2012 Joyce Wein Artist Prize discusses the relationship in her work between visual art and sonic art. [26:26]