Jennifer Bartlett Locks Gallery plate

Fixed/Variable, 1972

enamel over silkscreen grid on baked enamel steel plates

64 x 64 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 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 Locks Gallery plate

Four Right Angles, 1972

enamel over silkscreen grid on baked enamel steel plates

103 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 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 moving to New York City in 1967. Within her systematic and diverse studio practice, she consistently explores the environments where she lives, travels, and works and simultaneously exhausts the possibilities for painterly representation.

Her unprecedented piece Rhapsody (1975–76, collection Museum of Modern Art), a painting on 987 gridded, enameled steel plates, reads as a lyrical conversation between mathematical abstraction and painterly figuration. The work in many ways laid a roadmap for her entire career, touching upon all of the subjects and styles she would research and explore in more depth.

Bartlett is known for creating room-size installations out of a single project, including In the Garden (1980), a series of nearly two hundred drawings of a garden in Nice, and the plate pieces Song (2007, collection Cleveland Museum of Art), and Recitative (2009–10). She oscillates between painting on steel plates and canvas, occasionally combining the two as she did for the monumental commission Swimmers Atlanta (Atlanta Courthouse, 1979). Comprehensive and novelistic, her body of work raises and revisits themes, including the house icon that she developed into her celebrated Addresses series (1976–78), and multiple perspectives of her own home and garden (Air: 24 Hours (1994), diptychs series from 2010–11). Color indexes and logical patterns pervade her abstract paintings, including her rule-based plate pieces, shaped canvases from the early 2000s, and the ‘blob paintings’ from 2012–13.

Jennifer Bartlett’s first survey exhibition was held in 1985 and traveled to the Walker Art Center, MN; the Brooklyn Museum, NY; and the Museum of Art, Carnegie Institute, PA, among others. In 2006, the Addison Gallery of American Art surveyed 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, which visited 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, Song, and Recitative 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.

Review
Edna Andrade, Jennifer Bartlett, and Lynda Benglis New York Times review by Roberta SmithSeptember 14, 2017
Writing
Jennifer Bartlett: Art in America By Serena QiuDecember 2015
Writing
Jennifer Bartlett: Title MagazineSeptember 25, 2014

"Jennifer Bartlett: In the Garden" by Kerry Bickford

Writing
Jennifer Bartlett: New York TimesMay 11, 2014

"Grids and Steel Spanning Great Divides: A Review of Jennifer Bartlett: History of the Universe— Works 1970-2011 in Water Mill" By Martha Schwendener

Writing
Jennifer Bartlett: Modern PaintersApril 2014

"On and Off the Grid: A Painter Bends Conceptualism's Rules" by Wendy Vogel

Writing
Jennifer Bartlett: ARTnewsNovember 2013

"Jennifer Bartlett: Pennsylvania Academy of the Fine Arts" by Edith Newhall

Writing
Jennifer Bartlett: ArtforumJune 28, 2013

"Jennifer Bartlett" by Julian Elias Bronner

Writing
Jennifer Bartlett: Art in AmericaJune 26, 2013

"Jennifer Bartlett's Universe in Philadelphia" by Brian Boucher

Writing
Jennifer Bartlett: The New York TimesJune 20, 2013

"Organizing an Organizer’s Life: Jennifer Bartlett Gets a Museum Retrospective" by Hilarie Sheets

Writing
Jennifer Bartlett: ArtforumMay 12, 2012

"Critics' Picks: Jennifer Bartlett" by Christopher Howard

Writing
Jennifer Bartlett: The New York TimesMarch 09, 2012

"Across Aisles, Accidental Pas de Deux" by Karen Rosenberg

Writing
Jennifer Bartlett: The Brooklyn RailJuly/August 2011

Jennifer Bartlett, Interview by Phong Bui

Writing
Jennifer Bartlett: New York TimesApril 29, 2011

"Jennifer Bartlett’s Epic 'Rhapsody' Back on View at the Modern" by Roberta Smith

Writing
Jennifer Bartlett: Art in AmericaMay 1, 2011

"Jennifer Bartlett" by Jeff Frederick

Writing
Jennifer Bartlett: ArtforumMarch 01, 2011

"Jennifer Bartlett" by Johanna Burton

Writing
Jennifer Bartlett: The New York Times Style MagazineJanuary 13, 2011

"Artifacts | Doting on Dots: Jennifer Bartlett's 'Recitative'" by Linda Yablonsky

Writing
Jennifer Bartlett: Interview MagazineJanuary 05, 2011

"Bigger is Better: Jennifer Bartlett" by Sarah Stephenson