JANET JONES

 

Janet Jones was born in Montreal, Quebec.  She received her BFA in painting and photography from Concordia University - studying painting with Guido Molinari and Yves Gaucher, and photography with the experimental photographer Suzanne Swibold. Janet Jones is currently a Toronto based painter whose work has been exhibited across Canada, in Los Angeles, New York, England, Germany, France and China. Her recent projects include; two solo exhibitions, Playtimes (2015) and Joyride (2012) both at Katzman Contemporary Toronto, a national touring exhibition of her paintings, DaDa Delirium, with an accompanying catalogue (2011) with essays by Stuart Reid, Nell Tenhaaf and an interview with the artist by Georgiana Uhlyarik, and participation in the Empire of Dreams exhibition, MOCCA (Summer 2010) curated by David Liss. Jones has been a visiting artist in France, England, Russia, China, the Netherlands, and Cuba. Her work is in numerous public and corporate collections including: BMO, TD Bank, Winnipeg Art Gallery, MacLaughlin Art Gallery, MacKenzie Art Gallery, Schulich School of Business, York University and AIMIA Corporation. Jones received her MFA from York University, upon graduation receiving the prestigious Samual Sarrick Purchase Award for outstanding studio work. She continued her studies, receiving her PhD from New York University in the area of art theory and criticism. Her dissertation titled: Clement Greenberg and the Artist /Critic Relationship, included interviews with Clement Greenberg, Jules Olitski, and other members of the ‘Greenberg Group’ and research gained through accompanying Greenberg on numerous studio visits. A Professor in the Department of Visual Arts, York University, Toronto, where she is Head of the Painting Area and teaches painting, she has been Chair of the Department of Visual Arts  (2006-09), and Director of the MFA Program in Visual Arts  (1997-2000).  

 

STATEMENT

Marshall McLuhan wrote that artists are the distant early warning systems of their time. I have always been fascinated with the future. The research that informs my painting practice centers on our experiences in contemporary, urban spaces: the overlay of real and virtual spaces in what has been termed cybercities; the techno-sublime - awe inspired not by nature but by technology; spectacle; and women’s roles within these environments.

These concerns naturally influence the form of my paintings: the smooth, painted yet almost photographic surfaces, the ‘unnatural’ colours, and the glow from the high-key florescent colours on the edges of the stretcher bars, surrounding the paintings. In a recent catalogue essay, Silent Light, Electronic Light, On The Paintings of Janet Jones, the curator Stuart Reid writes:

"… [Jones’ large paintings] are like windows that open up onto an abyss. What they depict is a fantastic, dark, mysterious space illuminated with artificial light and colour. These paintings can be read as contemporary urban nocturnes in which we glimpse images of a futuristic metropolis. Jones’ paintings allude to the imposition of technology on the urban sphere and transmit imagery through a techno-haze, the invisible silent network of signals, satellite relays and data exchange."

 

Unlike earlier, modernist abstraction that stressed ’purity’ or painting as a self-referential, autonomous medium, my paintings consciously engage with other media: analogue film, photography, and digital media. This conscious referencing of the look of other media through the medium of painting is most apparent in the panoramic series of large-scale paintings Nowhere Everywhere (2000-2003), first exhibited in Europe at the Kunsthalle Erfurt, Germany and Faux Mouvement, Metz, France and now in the collections of the Tom Thomson Art Gallery, Rodman Hall Art Gallery and York University. It is in these earlier paintings that my practice of referencing photographs taken during ‘drifts’ in mega-cities is most apparent. I enact ‘performative’ research by immersing myself in the core of urban centres, through walking the streets in the financial district of Toronto, the Wall Street area of New York, the former East Berlin and the Las Vegas strip. The A Las Vegas of the Mind paintings, (Peak Gallery, Toronto ON 2009), now in the permanent collection of the Winnipeg Art Gallery, grew directly out of my nighttime street experiences.

In later work, I became increasingly interested in the relationship between the viewer as an embodied subject and the painting on the wall. In my Canadian touring, solo exhibition, DaDa Delirium (2009-12), which was accompanied by a fifty page catalogue, the size of the paintings in relationship to the viewer’s body and the destabilizing, mesmerizing compositions, prompt the viewer to lose balance, to experience a sense of vertigo and delirium. These qualities are particularly evident in the large, vertical (54” x 96”) DaDa Delirio series shown at the Museum of Contemporary Canadian Art, Toronto, ON and at Marine Contemporary, Los Angeles. In these works, the immersive and experiential encounters trigger not only an immediate physical reaction, but upon reflection, suggest a critique of our contemporary, everyday, lived condition.

The experiential nature of the present has been further imagined in my solo exhibitions Joyride Katzman/Kamen Gallery, Toronto, September 2012 and Playtimes, Katzman Contemporary, April-May 2015.  Hypno-Merge into Dazzle Daze, a series of six paintings from Joyride that are now in the collections of BMO and TD Bank, suggest the experience of high speed, unrelenting flow, and the intermingling of the real and the virtual reflected in the title of these works. Richard Rhodes, the editor of Canadian Art Magazine, in a review of this exhibition wrote:

"Yet while graphic and fun, the paintings suggest some deep thinking about the effects of the increasingly integrated fusion of representational space into abstract practice. All space is hybrid space at this point caught up in a flux of preplanned rationality interacting with partial passing perception. Jones has found a way to compress the discontinuities into paintings that are reassuringly stable in their instabilities. She is showing us the prevailing norm for social and psychic space."

 

 In her current paintings and hand-tinted, silver-based photograms, Jones is increasingly interested in re-envisioning notions of utopia within a contemporary context.  In her series of paintings Wall Street Boogie-Woogie, in the collection of BMO, Janet ‘s interest in modernist abstract painters such as Mondrian, the Russian Constructivists and Moholy-Nagy, and their utopian visions of the world, is evident. An extended research trip to Moscow and St. Petersburg Russia and across Siberia via the Trans-Siberian Railway in 1992, a few months after the collapse of the Soviet Union and a subsequent visit to the Bauhaus in Weimer, Germany, sites of two very different utopian ‘dreams’, began her reflections.

 

JANET JONES

 

EDUCATION

1988  PHD, Clement Greenberg & the Artist/Critic Relationship, New York University, New York

1979  MFA, Samuel Sarick Prize, York University, North York, Canada

1977  BFA, Honours with distinction, Concordia University, Montreal, Canada

 

SELECTED SOLO EXHIBITIONS

2017  (upcoming) The Dream Machine / La Machine à Rêves, Patrick Mikhail Gallery, Montréal, QC

2016  Recent Acquisitions from DaDa Delirium, MacLaren Art Gallery, Barrie, ON

2015  Playtimes, Katzman Contemporary, Toronto

2013  DaDa Delirium, MacIntosh Gallery, University of Western ON

2012  Joy Ride, Katzman Kamen Gallery, Toronto, ON 

2012  DaDa Delirium, Art Gallery of Northumberland, Coburg, ON

2010  DaDa Delirium, MacLaren Art Centre, Barrie, ON

2009  A Las Vegas State of Mind, Peak Gallery, Toronto, ON

2009  DaDa Delirium, Curated by Stuart Reid, Tom Thompson Art Gallery, Owen Sound, ON

2006  DaDa Flow, Peak Gallery, Toronto, ON

2004  panorama Galerie Sylviane Poirier Art Contemporain, Montreal, Que.

2002  panorama, Artist Project, for Public,Cities/Scene Issue.

2001  paintingsonline <janetjones <http://www.yorku.ca/jjones/>

1996  Static Red Head Gallery, Toronto, ON.

1992  On Shifting Ground, Latitude 53 Gallery, Edmonton, Alberta. 

1991  On Shifting Ground Durham Art Gallery, Durham, Ontario.

1991  Eastern Edge Gallery, St. John's Newfoundland.

1991  Definitely Superior Gallery, Thunder Bay, Ontario.

1990  Struts Gallery, Sackville New Brunswick.

1986  Fleur du Mal, S.L. Simpson Gallery, Toronto, ON.

1984  S.L. Simpson Gallery, Toronto, ON.

1980  YYZ Gallery, Toronto, Ontario.

1980  80 Washington Square East Galleries, NY, NY.

1979  Fine Arts on Markham: Toronto, On.

 

SELECTED GROUP EXHIBITIONS

2017  ' Abstraction: The Rebel Cause', Survey of Abstraction in Canada, from the 1950's to the present. Robert McLaughlin Gallery, Oshawa, ON. Curated by Linda Jansma. 
2017  ' Imposters', Katzman Contemporary, Toronto, ON. April-May. 

2016  The Triumph of the Therapeutic, Patrick Mikhail Gallery, Montréal, Québec

2016  It’s Miller Time, Group Exhibition, spring, Katzman Contemporary Gallery, Toronto, On.

2015  Papier Artfair  15, Featured Artist, Katzman Contemporary, April, Montreal, QC.

2015  Summer Show of Gallery Artists, Katzman Contemporary, Toeronto, ON

2014  Summer Show, Katzman Contemporary.  July-August. 2014

2013  Collapse, Installation: Waiting for….Zabriski, Katzman Contemporary (For the Canadian Art Gallery Hop. October 2013)

2012  Toronto International Artfair 2012, Featured artist. Katzman Contemporary, October

2011  Celebrating Women Artists in the Permanent Collection, MacLaren Art Centre, Barrie, ON. March-April, 2011.

2011  At Home with Dystopia, Marine Contemporary, Los Angeles, Calif. Nov.-Jan.2010-11.

2011  Recent Additions to the Permanent Collection, Art Gallery of Northumberland, Cobourg, ON. Jan.-February, 2011.

2010  Empire Of Dreams, Museum of Contemporary Canadian Art, Toronto. ON. June-August, 2010.  Catalogue

2009  Cluster, Peak Gallery, Toronto, ON.

2007  Nuit Blanche,Bloor Night Light,  Projections and performance. Toronto.

2005  Cluster, Peak Gallery, Toronto, ON.

2004  The Ironic Turn, Museum of Contemporary Canadian Art Toronto, ON.

2004  Owens Art Gallery, Sackville, NB.

2003  The Ironic Turn, Faux Movement. Metz, France.

2002  The Ironic Turn, Kunsthalle, Erfurt, Erfurt, Germany.

1998  Project Room, Banff Centre for the Arts, Banff, Alberta. 

1997  Red Head Gallery, Toronto, ON.

1991  Nine from Toronto," Art Gallery of York University, Toronto, ON.

1991  Glendon Gallery,Toronto, ON.

1990  Nine from Toronto", Newcastle-on-Tyne University Gallery,

1990  Newcastle-on-Tyne, England. Catalogue

1986  Faculty exchange exhibition. Touring exhibition to cities in China. Catalogue.

1984  Anima(l): Koffler Gallery, Toronto, ON. Catalogue       

1984  Artists & Their Work" P.M.C., Toronto, ON.

1983  Attitude, C.N.E., Toronto, ON.

1983  Works on Paper, S.L. Simpson Gallery, Toronto, ON.

1983  New Drawings, The Drawing Center, New York, NY.

1983  Small Works, 80 Washington Sq. East Galleries, NY, NY. Curated by Marcia Tucker, The New Museum. Catalogue 

 

ARTIST RESIDENCIES

2003  Bauhaus, Weimar, Germany, July.

2003  Hogeschool, Rotterdam, Netherlands, May.

2003  Willem de Kooning Art School, Rotterdam, Netherlands.

2000  Banff Centre for the Arts, Big City Residency

1998  Banff Centre for the Arts, Women and Paint Residency.

1993  Havana Artists' Union. Havana, Cuba, Fall.   

1993  Université Canadienne en France, Nice and Paris, France.

1992  Slade School of Art - Graduate Painting Area, London, UK.

1992  Muchina Art Institute - St. Petersburg, Russia. Spring,

1992  The Repin Institute, St. Petersburg, Russia. Spring.

1992  The Moscow Artists' Union, Moscow, Russia. Spring.

1992  The Central Academy of Art, Beijing, China, Summer.

 

COLLECTIONS

Schulich School of Business. Toronto, ON. 
OAISS, AMPD, York University. 
Bergeron Building, Faculty of Engineering, York University, Toronto, ON. 

MacLaughlin Art Gallery, Oshawa, Ontario.

AIMIA, Head Office Toronto, ON.

Bank of Montreal, Head Office, Montreal, Que.

Dean’s Office, AMPD , York University 

Department of Film, Faculty of Fine Arts, York University.

Rodman Hall, Brock University, St. Catherines, ON.

Bank of Montreal, Head Office, Toronto, Canada.

Winnipeg Art Gallery, Winnipeg, Manitoba

TD Bank

MacLaren Art Centre, Barrie, ON

Northumberland Art Gallery, Coburg, ON.

MacKenzie Art Gallery, Regina, Saskatchewan.

Tom Thomson Art Gallery, Owen Sound, ON.

 

BIBLIOGRAPHY

2013  Elliot, Shaw, C. Susan Gold & Janet Jones at the McIntosh Gallery, LondonFuse, May 16, www.londonfuse.ca

2013  Belanger, Joe. On the Canvas: Two Diverse Exhibitions at the Gallery, London Free Press, May 22.

2012  Rhodes, Rick. Janet Jones’ Latest Canvases Pack Spatial Punch, Canadian Art Magazine, October.

2012  Sherwood, Barbara. Video interview with Janet Jones at Joyride exhibition , Katzman / Kamen Gallery, Sept. 12. Artsync, Canadian Art Connected

2012  Sumi, Glenn. Joyride, Katzman/Kamen Gallery Toronto, On. Now Magazine. Must See Shows.

2012  Sandals, Leah. Canadian Art Magazine, ‘Must Know artists from Acros the Canada”. www.canadianart.ca/artist/janetjones

2011  Bell-Farrell, C. New acquisitions from the Permanent Collection, MacLaren Art Centre, www.maclarenart.com

2011  Reid, Stuart. DaDa Delirium, catalogue essay: Silent Night Electronic Light: On the Paintings of Janet Jones, by Stuart Reid, Director, MacKenzie Art Gallery, Regina, Sask.

2011  Tenhaaf, Nell.DaDa Delirium, catalogue essay: Outside the Comfort Zone: Paintings by Janet Jones

2011  Uhlyarik, Georgiana. DaDa Delirium, catalogue interview with Janet Jones. Georgiana Uhlyarik, Assistant Curator, AGO

2011  Anderson, C. “At Home with Dystopia at Marine Contemporary, LA” The Huffington Post, Jan.

2011  Nys, Shana, Review of Salon #7, Marine Contemporary, LA. WhiteHot Magazine, Jan.  

2010  Carson, Andrea. View on Canadain Art, Empire of Dreams, Toronto artists On View at MOCCA. Group exhibition of work that the MOCCA Curators’ “ feel are the city’s most active and vital”.  www.viewoncanadianart.com

2010  Godden, Sky. “Empire of Dreams: City Sounds”, Canadian Art Magazine on line, June.

2010  Liss, David. Empire of Dreams: The Phenomenology of the Built Environment, catalogue essay. MOCCA, Toronto. Fall.

2010  Yvonne Lammerich   Viva Las Vegas, Review of DaDa Delirium, MacLarenArt Centre, Canadian Art Magazine, Summer

2010  Blenkhorn, Leigh. Review of DaDa Delirium, MacLaren Art Centre, Barrie Advance, May.

2010  Hollindaze. Janet Jones @ Peak Gallery, A Las Vegas of the Mind. http://.worldpress.com/tag/feminist-art/

2009  Dault, Gary Micheal, A Las Vegas of the Mind, Peak Gallery, Globe & Mail,Sept. 19

2007  Tenhaaf, Nell.“Review DaDa Flow, Peak Gallery, Canadian Art, September issue.

2006  Dault, Gary Micheal  “DaDa Flow, Peak Gallery, Globe and Mail,

2004  CBC Arts News. “Canadian Exhibit Challenges European Conventions”, March 18.

2004  Dault, Gary Micheal. “The Irony of Really Big Expectations” Globe and Mail, July 3.          

2003  Elke Kustner. “Ironie verbindet. Erfurt: Neun kanadische Kunstler” Thurginger Allgemeine, Erfurt, Germany, July 5.

2003  Obst, Sylvia, “Kanadish Gegenwartskunst wird ihrem Titel gerecht:”The Ironic Turn”, Ostthuringer Zeitung, Erfurt, Germany.

2003  Fiedler,Peter “Sie sagen am Ast, auf dem sie sitzen”, Eifenache Presse, Thuringer, Germany. Saturday, July 5.

 

Press

THE DREAM MACHINE IN CANADIANART MUST-SEES
JANET JONES IN LE VADROUILLEUR URBAIN
JANET JONES | REVIEW OF EXHIBITION JOYRIDE IN CANADIAN ART MAGAZINE BY RICHARD RHODES
JANET JONES PLAYTIMES EXHIBITION IN CANADIAN ART MAGAZINE
JANET JONES | REVIEW OF DADA DELIRIUM EXHIBITION IN CANADIAN ART MAGAZINE
JANET JONES | ARTIST WEBSITE
JANET JONES IN MUST KNOW ARTISTS IN CANADIAN ART MAGAZINE
JANET JONES | ACADEMIC PROFILE
JANET JONES | REVIEW IN CANADIAN ART MAGAZINE OF SOLO EXHIBITION AT PEAK GALLERY
JANET JONES | DADA DELIRIUM EXHIBITION CATALOGUE
JANET JONES | CATALOGUE FOR THE MOCCA EXHIBITION, EMPIRE OF DREAMS
JANET JONES | EMPIRE OF DREAMS MOCCA EXHIBITION
JANET JONES IN THE CENTRE FOR CONTEMPORARY CANADIAN ART