Jennifer Bartlett Locks Gallery plate

Fixed/Variable, 1972

enamel over silkscreen grid on baked enamel steel plates

64 x 64 inches

Jennifer Bartlett From Rhapsody to Song

Puzzle, 1972

enamel over silkscreen grid on baked enamel steel plates

64 x 64 inches

Jennifer Bartlett Locks Gallery plate

Four Right Angles, 1972

enamel over silkscreen grid on baked enamel steel plates

103 x 64 inches

Jennifer Bartlett Locks Gallery plate

1 Point Plane to 9 Point Plane, 1973

enamel over silkscreen grid on baked enamel steel plates

38 x 38 inches

Jennifer Bartlett Plate Locks Gallery

Count 1 2 3, 1974
enamel over silkscreened grid on enameled steel plates
38 x 38 inches

Jennifer Bartlett plate painting Locks Gallery

Drawing and Painting, 1974
enamel over silkscreen grid on baked enamel steel plates
155 x 155 inches
Collection of The Museum of Modern Art

Jennifer Bartlett plate painting Locks Gallery

Color Index I, 1974
enamel over silkscreen grid on baked enamel steel plates
64 x 77 inches
Collection of the Herbert F. Johnson Museum of Art, Cornell University

Artist Bio

Jennifer Losch Bartlett (b. 1941, Long Beach, CA) studied at Mills College in California and graduated from Yale University before movingto New York City in 1967. Within her systematic and expansive painting practice, she consistently explores the environments she inhabits and, through multiple iterations of the same image or theme, exhausts their possibilities for representation. She is best known for her room sized installations that explore landscaped such as houses, mountains, trees, gardens, and bodies of water.

Conceptual and novelistic, her work raises and revisits vernacular themes, while mathematics and conceptual games guide her creative process, often in resulting color indexes and grid-based patterns. Inspired by Minimalism, her artwork is often in series and oscillates between painting on steel plates and painting on canvas, occasionally combining the two. In addition to her lyrical conversations between mathematical abstraction and painterly iconography, the totalizing quality of her artwork touches upon many of the styles that she explores in subsequent bodies of work. Her exhibitions range from Abstract Expressionism to Minimalism to Conceptualism, some with elements of all three.

Jennifer Bartlett’s first retrospective was held in 1985 at the Walker Art Center, MN, and traveled to the Nelson-Atkins Museum of Art, Kansas City, MO; the Brooklyn Museum, NY; and the Carnegie Museum of Art, Pittsburgh, PA. In 2006, the Addison Gallery of American Art presented a survey of Bartlett’s early enameled steel plate paintings in the period from 1968–76. In 2013–14, Klaus Ottmann curated her second traveling survey, Jennifer Bartlett: History of the Universe—Works 1970–2011, at the Pennsylvania Academy of the Fine Arts, PA, and the Parrish Art Museum, NY. In 2014, the Cleveland Museum of Art united her three monumental plate pieces, Rhapsody (1975-76), Song (2007), and Recitative (2009-10) in the exhibition, Epic Systems.

Bartlett’s works are represented in the collections of the Dallas Museum of Fine Arts, TX; the Los Angeles County Museum of Art, CA; the Metropolitan Museum of Art, NY; the Museum of Fine Arts, Houston, TX; the Museum of Modern Art, NY; the Philadelphia Museum of Art, PA; the San Francisco Museum of Modern Art, CA; the Tate Modern, London; and the Whitney Museum of American Art, NY, among many others.

Locks Gallery has represented the artist for over 25 years.

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