The Pen and Brush Art Gallery’s newest exhibition, “NOW: As a Consequence of Fact,” marks the third installment in the ongoing “Now” series. Scheduled to run from October 12th to December 9th, this exhibition takes a close look at the captivating artworks of the versatile multimedia artist, Jill Viney.
Pen + Brush, a venerable organization with a rich 129-year history, is passionately committed to championing women and non-binary artists and writers. Its core mission revolves around providing a vital platform for these marginalized groups, effectively challenging the systemic gender-based barriers, the dearth of recognition, and the persistent undervaluation they often confront within the art market. Furthermore, the organization takes an active role in nurturing and guiding emerging professionals within the arts.
The organization is deeply involved in supporting women and non-binary artists, ensuring that their voices are heard and their work is celebrated. By offering a platform for these artists, Pen + Brush plays a crucial role in addressing the historical disparities in the art world.
All the artworks featured in the exhibition are available for purchase, with an admirable 75% of the sales proceeds flowing directly to the artists, while the remaining 25% bolsters the organization’s overarching mission. This commitment to artists’ economic empowerment sets Pen + Brush apart and reinforces their dedication to supporting the careers of women and non-binary artists.
The exhibition is masterfully curated by Parker Daley Garcia, with Bird Piccininni serving as the associate curator. These curators are experts in their field and bring a wealth of knowledge and experience to ensure that the exhibition showcases the artists’ work in the best possible light.
Jill Viney, a distinguished artist, is an alumna of Sarah Lawrence College, holding a Master of Fine Arts degree in Fine Arts from Columbia University. Her educational background reflects a deep commitment to her craft and a dedication to honing her artistic skills. During the 1970s, under the mentorship of her professor Meyer Schapiro, she embarked on an artistic journey exploring the realms of color field and abstract expressionism, effectively reshaping the perspectives of both American and European art. Viney’s education and mentorship have played a significant role in shaping her artistic vision.
Over the course of her illustrious career, Viney gracefully traversed various artistic mediums, ranging from delicate miniatures and expansive field paintings to innovative plastic and fiberglass sculptures. Her versatility as an artist is a testament to her creative evolution and her willingness to push the boundaries of her own artistic practice.
In the early 2000s, her artistic evolution led her to create captivating 3D wall sculptures. This transition in her work showcases her adaptability and willingness to embrace new artistic challenges. Throughout her career, Viney’s work has remained a potent force, consistently challenging established conventions and pushing the boundaries of contemporary art.
“Dream” 1980 by Jill Viney
“Woman Vacuum” 1979 by Jill Viney
The “NOW” series at Pen and Brush serves as a testament to the ever-evolving landscape of contemporary art, providing a stage for fresh perspectives and emerging talents. “NOW: As a Consequence of Fact” delves deeper into the concept of “the now” within the context of the contemporary world, emphasizing the futility of rigid boundaries in defining today’s art. The exhibition brings together over twenty pieces created by thirteen artists, spanning a wide array of media, sizes, and temporal perspectives.
Jill Viney’s creations span from expansive paintings that explore the intricacies of color theory to wall-mounted sculptures that combine plastic and fiberglass into polymorphic collaged assemblages. Her works also include life-sized sculptures that convey her artistic vision and intimate “environments” that expose the tension between domestic obligations and creative pursuits.
The “NOW” exhibit features works that are responses to the contemporary social, political, and environmental challenges faced by people today. These exhibitions aim to provide fresh perspectives, steering clear of the influence of market trends and the artificial sense of importance that often accompanies commercial art. This approach challenges the notion of fixed timelines, with time itself becoming a critical element.
Of particular significance are Jill Viney’s artworks, which encompass her 1970s paintings and ’80s dystopian pieces that probe the notion of “newness” in the contemporary scene. Her work takes on renewed relevance as marginalized voices find recognition within the art world. Pen and Brush’s curator, Parker Daley Garcia, questions, “What is more pertinent than dismantling established system boundaries while amplifying the voice of a female artist whose perspective has long been suppressed?”
“Cathedral” 1970 by Jill Viney
The exhibition will feature three of Jill Viney’s remarkable artworks from her illustrious 40-year career: “Woman Vacuum,” “Dream,” and “Cathedral,” showcasing the different eras of Viney’s works.
Jill Viney eagerly anticipates the exhibition, stating, “Art is a dialogue. It is created by one person, and then it interacts with others. That’s when art truly comes alive. If it remains unseen, it hasn’t had the opportunity to breathe.” Viney’s profound insights into the role of art as a conversation and the importance of sharing art with the world highlight her commitment to making her work accessible to a broader audience.
