The curated selection of works lends physicality to place and explore dual/opposing states- life and death, youth and adulthood, darkness and light, love, benevolence, and consumption- existing simultaneously.
Read moreJennifer Greenburg in “Digital Witness” at LACMA
Roxy by Jennifer Greenburg
Constructed Portraits will be on view in Digital Witness. This exhibition is LACMA's contribution to the Getty initiative PST : ART : Art & Science Collide. The exhibition traces the emergence of distinctive digital aesthetic strategies, relationships to realism, and storytelling.
Read moreLACMA Acquires Jennifer Greenburg Constructed Portraits
The two works, Vicki and Roxy, are from the artist’s ongoing Constructed Portraits series. They will be included in LACMA’s contribution to PST exhibition fall 2024.
Read moreJennifer Greenburg in Black and White Magazine
Jennifer Greenburg, She made sure to tell me to keep smiling. 2018
Jennifer Greenburg’s Revising History is featured by Black and White Magazine in an article by Larry Lytle, who has covered Greenburg’s work in the past. This check-in exposes how the Artist’s ongoing Revising History work has evolved from its conception in 2010 to now.
Read moreOne Last Look: 2018 in Review
Our Artists had a banner year: Ian van Coller was awarded a Guggenheim Fellowship for his ongoing work Naturalists of the Long Now, Matt Eich released the second volume of The Invisible Yoke: Sin & Salvation in Baptist Town, Jennifer Greenburg exhibited Revising History in Italy, and Paul Turounet’s Estamos Buscando A was included in the 5th Transborder Biennale, which occurred simultaneously in El Paso Museum of Art (EPMA) and the Museo de Arte de Ciudad Juárez.
Read moreBackstage with Jennifer Greenburg
Sometimes the Director knocked twice. 2017
Jennifer Greenburg is currently on a teaching sabbatical, so anticipate the rollout of more work in coming months, and be the first to see new productions, such as this latest work, "Sometimes the Director knocked twice. 2017."
I intend for this series to engage the audience in a conversation about the way we interpret the media, record personal memories, and establish collective history… [this] is a study on photography, the nature of the vernacular image, and its role in creating cultural allegories . . . By (re)processing a cross-section of the past I am creating a dialogue about the constructs still entrapped in our national psyche.
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