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Jeanette Collins
Curriculum vitaeBorn USA 1941
Graduated Louisville Male High School 1959 Louisville, Ky
Attended Louisville Art Center Association – Painting 1964 University of Louisville
Louisville Art Workshop – Painting 1967-1969 Fred Bond, Director
University of Toronto1970-1972 Rochdale College Improvisational theater workshops Jim Gerard, Director
Theater Passe Muraille – Actor/singer 1970-1972 Toronto, Canada Paul Thompson, Director
Middlesex College – History/philosophy 1973-1974
Edison, NJ
Art Students League – Studio painting from the model 1986 New York, NY Daniel Dickerson, Instructor
Parsons/New School – Clay and plaster carving from the model 1987 New York, NY Gillian Purvis, Instructor
Art Students League – Studio painting from the model 1986 New York, NY Daniel Dickerson, Instructor
Parsons/New School – Clay and plaster carving from the model 1987 New York, NY Gillian Purvis, Instructor
Corcoran School of Art – Open program in sculpture 1989-1995
Washington, DC
Slaithong Schmutzhart, Instructor
Berthold Schmutzhart, Chairman (retired 1993)
Frederick Wall, Chairman (1993- )
Slaithong Schmutzhart, Instructor
Berthold Schmutzhart, Chairman (retired 1993)
Frederick Wall, Chairman (1993- )
Direct carving in wood and stone with
hand tools, chain-saw, pneumatic chisels.
Casting in bronze and aluminum.
Use of industrial epoxy for assemblages.
Access to all aspects of wood shop, metal shop, etc.
Attended lectures, demonstrations, and critiques with degree students.
Semester length: 30 sessions, 6 hrs each; two semesters per year
Working in Albuquerque, NM Fall 1995 –
Attended University of New Mexico 1997-2001
Graduated B.F.A. in Studio Art Dec, 2001
Selected Exhibitions
Sculpture:
Ninth Annual Small Works Show 1985
Washington Square East Galleries, New York, NY
Allan Stone, Juror
Celebration of Sculpture 1985
San Francisco Arts Commission
Michael Bell, Director of Cultural Affairs
Awards of Honor 1986
San Francisco Arts Commission
Michael Bell, Director of Cultural Affairs
Eleventh Annual Small Works Show 1987
Washington Square East Galleries, New York NY
Barbara Toll, Juror
White Walls Gallery Annual Exhibitions 1989-1992, 1994
Corcoran School of Art, Washington, DC
Annual Alumni Reception 1993
Corcoran School of Art, Washington, DC
University of New Mexico 1999
John Sommers Gallery
Small scale metals - “Body as content: Body as site”
Suzanne Stern, Juror
Painting:
Fall National 1985
Cunningham Memorial Art Gallery, Bakersfield, CA
Millard Sheets, Juror
Annual Painting Exhibition 1986
Art Students League, New York, NY
PAINTING
My primary focus in painting has been the female nude. I am interested in the form and in the complex tensions, relationships and balances so necessary to depict the figure. I am also interested in the attitudes expressed: how these women feel, about themselves, about their viewers, and about the world they live in.
The nude, classically considered emblematic of order and coherence, still represents powerful ideas about ideal form in ideal space, no matter what the modern abstraction. I attempt to reduce visual reality to simple, formal compositions expressing serenity and calm and a quiet authority. I favor clean edges, clear color, and an intimate scale which invites close contemplation.
In many works I omit the head, concentrating on the torso, so eloquently human, so able to convey emotion without personality. Any displacement, distortion, or omission must be meaningful, not just arbitrary dismemberment, and I work to convey something of what it means to be alive and to be a woman.
SCULPTURE
In the late 80’s and into the 90’s, I formed a collection of small metal pieces I found in the streets of San Francisco, New York City, and Washington, D.C. I began a series of chthonic/iconic objects, representations of the Gods that seem to come from the earth or the spirit underworld.
The beautifully worn parts seem ancient; precious metals of another age. The finished forms take on a talismanic quality, transcending their origins. Despite their small size, they suggest a much larger scale. Gradually I have developed a cosmology of artifacts of a lost civilization: deities, icons, and fetishes of a forgotton people. These imply a universe elsewhere, and they seem to coolly wait until it all comes around again.
The carvings in wood and stone and the cast and raised metals extend what I am able to say about the human form and about transcendence from it, seeking a more spiritual understanding of existence
Casting in bronze and aluminum.
Use of industrial epoxy for assemblages.
Access to all aspects of wood shop, metal shop, etc.
Attended lectures, demonstrations, and critiques with degree students.
Semester length: 30 sessions, 6 hrs each; two semesters per year
Working in Albuquerque, NM Fall 1995 –
Attended University of New Mexico 1997-2001
Graduated B.F.A. in Studio Art Dec, 2001
Selected Exhibitions
Sculpture:
Ninth Annual Small Works Show 1985
Washington Square East Galleries, New York, NY
Allan Stone, Juror
Celebration of Sculpture 1985
San Francisco Arts Commission
Michael Bell, Director of Cultural Affairs
Awards of Honor 1986
San Francisco Arts Commission
Michael Bell, Director of Cultural Affairs
Eleventh Annual Small Works Show 1987
Washington Square East Galleries, New York NY
Barbara Toll, Juror
White Walls Gallery Annual Exhibitions 1989-1992, 1994
Corcoran School of Art, Washington, DC
Annual Alumni Reception 1993
Corcoran School of Art, Washington, DC
University of New Mexico 1999
John Sommers Gallery
Small scale metals - “Body as content: Body as site”
Suzanne Stern, Juror
Painting:
Fall National 1985
Cunningham Memorial Art Gallery, Bakersfield, CA
Millard Sheets, Juror
Annual Painting Exhibition 1986
Art Students League, New York, NY
PAINTING
My primary focus in painting has been the female nude. I am interested in the form and in the complex tensions, relationships and balances so necessary to depict the figure. I am also interested in the attitudes expressed: how these women feel, about themselves, about their viewers, and about the world they live in.
The nude, classically considered emblematic of order and coherence, still represents powerful ideas about ideal form in ideal space, no matter what the modern abstraction. I attempt to reduce visual reality to simple, formal compositions expressing serenity and calm and a quiet authority. I favor clean edges, clear color, and an intimate scale which invites close contemplation.
In many works I omit the head, concentrating on the torso, so eloquently human, so able to convey emotion without personality. Any displacement, distortion, or omission must be meaningful, not just arbitrary dismemberment, and I work to convey something of what it means to be alive and to be a woman.
SCULPTURE
In the late 80’s and into the 90’s, I formed a collection of small metal pieces I found in the streets of San Francisco, New York City, and Washington, D.C. I began a series of chthonic/iconic objects, representations of the Gods that seem to come from the earth or the spirit underworld.
The beautifully worn parts seem ancient; precious metals of another age. The finished forms take on a talismanic quality, transcending their origins. Despite their small size, they suggest a much larger scale. Gradually I have developed a cosmology of artifacts of a lost civilization: deities, icons, and fetishes of a forgotton people. These imply a universe elsewhere, and they seem to coolly wait until it all comes around again.
The carvings in wood and stone and the cast and raised metals extend what I am able to say about the human form and about transcendence from it, seeking a more spiritual understanding of existence