Jennie Lennick mines a mid-century cookbook entitled Joys of Jello for a new series in sculpture, drawing, and performance. Cookbooks are a primary source in Lennick’s practice, culling their historical moment and playfully toying with notions of domesticity and feminine identity from an era that saw the kitchen as a female arena. The kitschy aesthetic and colorful food molds found in Joys of Jello are paired with equally bizarre recipe combinations such as Lime Jello with corn and Jello, diced tomatoes, Worcestershire sauce, and onion.
Her work begins with a recipe and it’s accompanying image. She repeatedly recreates the recipe in various mediums and methods. Sometimes she offers a taste, completing the recipe as instructed, though more often she ruminates on the formal aspects of the vintage food display and plating strategies. Lennick’s structured and labored process captures an absurdity and artificial nostalgia inherent in the corporate marketing of such traditional American dishes and values.
Cheeses of France
Made specifically for the exhibition, COME AND GET IT!
COME AND GET IT! is a multi-media exhibition featuring new work by Root Division artist, Jennie Lennick. Through a series of magazine cuts, paper sculptures, paintings, prints, and embroidery, Lennick questions fine art’s role as a commodity, a memorabilia, and an object for aesthetic appreciation. The work in COME AND GET IT! blurs the often thinly drawn line between what would be considered “high art” and what we might think of as “kitsch”.
COME AND GET IT! consists of three separate arrangements: Me & Others, a series of collages where Lennick forces a collaboration between a “famous” artists and herself by combining her own drawings and paintings with pages torn from high art magazines and auction catalogs. Cantaloupe Salads and Cheeses of France two series which feature multiple studies of images found in vintage cookbooks vividly recreated by hand in multiple forms. In an era where abundant cooking shows and the inundation of polished representations of food have become a symbol of western abundance, Lennick’s original and peculiar recreations give the dated imagery of vintage cooking a new albeit uncomfortable level of oomph.
Artist Wine and Cheese Reception for COME AND GET IT! Thursday, January 28th at 6:00pm at Rhodes & Fletcher, LLC 465 California Street, Suite 838
Panel Discussion Thursday, February 27th at 6:00pm (details to follow) Art: Passion? or Investment? Talk with a panel of collectors, dealers, artists, and professional advisors as we navigate the role of art as an investment, a cultural dialogue, a tax strategy, and a beautiful object. Find out why people collect and how you can start or refine your own collection.
Artist Talk Thursday, March 29th at 6:00pm at Rhodes & Fletcher, LLC 465 California Street, Suite 838
As part of the exhibition, IRL, at Alter Space, I created a series of multimedia works based around a single photograph borrowed from a midcentury salad cookbook.
Alter Space is proud to present IRL, an exhibition of works from Christine Elfman, Kate Nartker, Maria Porges, Jennie Lennick, and Vanesa Gingold. In IRL, these artists playfully explore the gap between real life and virtual experiences through creating spaces, sculptures, and images that both examine the stronghold of time and ask questions of authenticity and truth.
THIS IS ALL THERE IS IS ALL THERE IS THIS?
Even in an era when conceptions of time and truth are rendered flexible through technological mediation, time is still inescapable, and information is still power. The pervading influence of technology and social media has shifted our ability to acknowledge and cope with life’s complexities. Each moment can be catalogued and memorialized through photos and status updates: yet the broader arc of our mortality is ignored, denied even, by our unfading digital presences. - See more at: http://alterspace.co/portfolio/irl/#sthash.lscelEPX.dpuf
Sitting Room @ ATA
For the month of November, 2012, Jennie Lennick transformed the ATA Window Gallery into "Sitting Room," a multimedia installation that playfully investigates the darker side of domesticity and kitsch. This project examined the relationship between consumerism and handicraft by presenting reproduced domestic items made from Dollar Store bric-a-brac arranged alongside handmade clay and fabric sculptures.
The opening reception featured a screening of Lennick's animations and a special performance by Plains of Burning Sand.
Plains of Burning Sand is a San Francisco based experimental musical project of Craig Foreals and Maciej Makalowski, who have been playing music together for the last three years and are former members of the bands Nazi Botany and Air Witch. The music is an improvised exploration of moods conducted with a wide range of instrumentation.
Jenny Lemons @ City Limits
"Jenny Lemons" new work by Jennie Lennick Oct 26-Nov 29 OPENING RECEPTION: Friday, October 26, 2012 8pm-10:30pm Performance Friday, October 26 @ 9pm
For one month, artist Jennie Lennick will transform City Limits into a multimedia installation of ceramics, paintings, and soft sculpture. The installation was conceived as the living room of Lennick's alter ego, "Jenny Lemons," a Midwestern housewife that's one part Martha Stewart and one part Andrea Fraser.
Patterned strawberries, pastoral landscapes and kittens repeat throughout Lennick's various objects. What appears at first as kitsch reveals itself as something more creepy and sinister. Working somewhere between the aesthetics of a fine artist and homemade hobbyist, Lennick invokes a world of innocence subtly beset by subversion.
City Limits http://citylimitssf.tumblr.com/ http://twitter.com/citylimitsart
Enough Already @ Aggregate Space
Featuring Works by Jennie Lennick, Mitsu Okubo, Joshua Pieper, and Daniel Yovino Aggregate Space Gallery is pleased to present an exhibition of works that are too cute, too normal, too violent, too sexual, and too boring. Instead of isolating and aestheticizing the beauty of the normal and mundane, these artists are shaking hands with the soul crushing banality of day to day life. It's the extreme irregularity of each artist's point of view which binds them in their honesty and awkwardness.