Jennifer Losch Bartlett
Jennifer Losch Bartlett is active/lives in New York, California. Jennifer Bartlett is known for modernist views-objects, grid images.
Jennifer Losch Bartlett
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Biography from the Archives of askART
Known for painted images that appear to move back and forth in a
progressive way, Jennifer Bartlett conveys a sense of computer systems
operating behind the visual movement of her work, which is both
abstract and realistic. Her career as a Conceptual artist "came
of age in the late 1960s" when at age 27 and reflecting the prevalent
style of Minimalism, she decided to do all of her artwork on a 16-gauge
steel panel, 1-foot square that looked "like a very thin flooring tile"
(Katz 106) and that had been pre-prepared with silk-screened grid
lines, giving the appearance of graph paper. For the next several
years, she worked on these panels by dabbing a "single point of paint
into some of the tiny squares." The result was unpredictable,
which led to her own style and confidence in her unique
creativity. In 2006, the Addison Gallery in Andover,
Massachusetts held an exhibition of the works representative of this
phase of Bartlett's career and titled "Jennifer
Bartlett: Early Plate Work."
Biography from Auctionata
studied at Mills College in California, and there met mixed-media
sculptor Elizabeth Murray. She received further training at the
Yale School of
Art and Architecture at a time when Minimalism was
all-prevalent. However, there she became friends with Chuck
Close, and like him developed a style of her own. She had
wearied of Minimalism and its limitations of
One of her major pieces, Rhapsody, completed
in 1976 in New York, covered the walls of the Paula Cooper Gallery with
988 variations of mountains, trees, oceans and houses. They were
paintings on enamel on twelve-inch steel plates, and each plate had a
silk-screened grid with a total of 2304 spaces.
For the Federal
Building in Atlanta, Georgia, she created a two-hundred foot mural that
had both steel plates and canvas, and in 1981, she did a thirty-foot
long mural of a garden, whose theme she painted in smaller works
throughout the building.
Vincent Katz, "Bartlett Shows Her Colors", Art in America, January 2007, pp. 106-111
American Women Artists by Charlotte Streifer Rubinstein
Jennifer Losch Bartlett was born in California and studied at Mills College in Oakland until
1963 and then at Yale University School of Art and Architecture in New
Haven, where she got her Bachelor of Fine Arts in 1964, and her Master's
degree in 1965.
Biography from Artbrokering.com
Influenced by Sol LeWitt, she worked strictly geometric
first, but turned in the course of her long career to her environment
as image subject. She explores systematically the color and shape
possibilities of the painterly depiction. Often she creates
space-filling installations. As a painting surface for her paintings
serve steel, wood or canvas.
Jennifer Bartlett's work are shown since
the early 1980s in solo and group exhibitions in major international
The artist lives and works in New York. (tm)
Bartlett's distinguished career as a painter and printmaker has spanned
over thirty years in which her prints and paintings have been exhibited
in many of the most respected museums and galleries around the world. She is represented in the collections of The Tate, London; Whitney Museum of American Art,
New York; Israel Museum, Jerusalem; The Metropolitan Museum of Modern
Art, New York; and The Museum of Modern Art, New York.
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survey of her work, whether by catalogue or exhibition, reveal
paintings and prints where both realism and abstraction are often given
equal status. Typically, influences of Pointillism, Impressionism and
Expressionism as well as subtle nuances of Matisse, Johns and Pollock
are clearly evident.
In Bartlett's works, what
may often appear as mundane images, houses, trees and water, have
consistently been the source of some of the most significant and
interesting exploration in her work. In one of her most prolific and
recurring images, the house, we see what Bartlett has loosely referred
to as "an alter ego metaphor for the different phases of her life including the
house as a symbolic portrait of people"
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