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View of “Directions: Jennie C. Jones: Higher Resonance,” 2013. From left: Bass Traps with False Tones A & B, 2013; Score for Six Measures with Subtone, 2013.

Jennie C. Jones

Hirshhorn Museum and Sculpture Garden

View of “Directions: Jennie C. Jones: Higher Resonance,” 2013. From left: Bass Traps with False Tones A & B, 2013; Score for Six Measures with Subtone, 2013.

Jennie C. Jones makes abstract work using paint, sound, and audio equipment such as acoustic panels and bass traps. Her multimedia exhibition “Directions: Jennie C. Jones: Higher Resonance” joins thirteen new works with a looped composition played through elevated speakers. The curved exterior gallery of the Gordon Bunshaft–designed Hirshhorn Museum—often an odd counterpoint to the austere rectilinearity of much of its collection—is made a virtue here, as Jones has converted its arced space into an acoustic chamber for music that seeps invitingly into the surrounding corridor.

In the introductory wall text, the show’s curator, Evelyn Hankins, promises works that nod to Minimalism; engage “social, political, and historical concerns”; and “highlight what is missing from the legacy of American modernism.” This is an ambitious interpretation of what lies within; and one

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