A review of Jennie C. Jones: Compilation at the Contemporary Arts Museum Houston:
The work on display shows the progression of Jones’s research into the connections between art and music, as well as how this narrative has developed within her own practice, whether organic or constructed. Within this development, Jones moves from overly literal references to the more conceptual and abstract works in sound, sculpture and paint. The early drawings, all modestly sized and arranged in sets, display direct references to musical equipment. Speakers dangling by their wires are featured alone and in groups or are complemented by black rectangles offset by touches of light blue.
The literal references, instead of detracting from the overall body of work, grow into the conceptual almost fluidly as they move into more abstract works. As the work advances, the drawings begin to broaden in their representation of music, opening up to sound waves or demarcation of notes on sheet music. In certain sets, such as Score for Sustained Blackness Set 2, the artist moves between bold black sweeps and lighter tones, guiding her nonexistent band through attempts to make a stand, fade into the background, crescendo whenever possible, and remain mindful of the past, only to fade out.