Morristown, b.1961

Jeannie Weissglass

Ancient graffiti carved into the walls of Roman buildings display love declarations, political rhetoric, and simple images of daily life. Jeannie Weissglass, a New York based painter, plays with the modern equivalent. Her highly worked panels are compositions layered over frayed, stained wallpapers, recalling advertising billboards in city subway stations that have met with the hands of rebels. After applying paper, acrylic and oil paint, the artist strips her colorful surfaces only to load them back up again. The effect she achieves is a weathered, urban patina.

Many of Weissglass’s works depict romantic entanglements, personified by Martha and George Washington characters loving, fighting, and breaking up in dreamy American landscapes. Ladies and gents of the Revolution dress in formal attire sitting hand in hand on a surreal waterspout, while poodles...

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Biography

Ancient graffiti carved into the walls of Roman buildings display love declarations, political rhetoric, and simple images of daily life. Jeannie Weissglass, a New York based painter, plays with the modern equivalent. Her highly worked panels are compositions layered over frayed, stained wallpapers, recalling advertising billboards in city subway stations that have met with the hands of rebels. After applying paper, acrylic and oil paint, the artist strips her colorful surfaces only to load them back up again. The effect she achieves is a weathered, urban patina.

Many of Weissglass’s works depict romantic entanglements, personified by Martha and George Washington characters loving, fighting, and breaking up in dreamy American landscapes. Ladies and gents of the Revolution dress in formal attire sitting hand in hand on a surreal waterspout, while poodles idle below in The Gathering (2009). The duality of naughty and nice is evident in Midnight in the Garden (2011-15), a painting that seems to reference both Jackson Pollock’s messy drippings and Claude Monet’s gentile water lilies.

The domestic sphere is a steady motif for Weissglass. As the daughter of a painter and interior decorator, she maintains a trove of old wallpaper once collected from her mother’s office. She applies these papers onto wooden supports, later peeling and scratching at them. Such a stripping effect recalls a home undergoing demolition, or one that is simply old and falling to pieces. As a metaphor the doors she paints upon suggest entrances and exits. In the large pieces this architectural detail has a subtle but intrinsic scale to the human body; the weight of the material and its meanings is tangible.

Jeannie Weissglass was born in Morristown, NJ; she has studied at the New York Studio School, The Fashion Institute of Technology (New York), and L’Ecole des Arts Decoratifs (Nice, FR). From 2011 to 2014 she was the director of SHOW ROOM, an independent gallery of contemporary art in the Lower East Side and Brooklyn, NY. The gallery received mention in The Brooklyn Rail, The New York Times, Art in America, Artforum, and Frieze. She has displayed her work at various prominent galleries in the United States and abroad.

Artworks

2

No Wrong Dream, 2019

Related Categories

21st Century Art / Abstract and Figurative / Abstraction / Acrylic Paint / American Art / Art of the 2010s / Contemporary American Art / Humor and Satire / Morristown / New York / Oil Paint / Painting / Rough and Brave Brushstrokes / United States / Women Artists

Curriculum Vitae

Education

  • 1988

    The New York Studio School, New York, NY

  • 1983

    The Fashion Institute of Technology, Textile Design, New York, NY

  • L’Ecole des Arts Decoratifs, Nice, France

Selected Solo Exhibitions

  • 2018

    Pull the Ankle and the Bobbin Will Fall, Kinescope Gallery, New York, NY

  • 2017

    The Secret Life of Porcupines, Kabinett, Boston, MA

  • 2015

    Astro-Bloom, curated by Suzy Spence, The Gallery @1GAP, Brooklyn, NY

Selected Group Exhibitions

  • 2019

    Orphans of Painting, Ethan Cohen Kube, Beacon, NY

  • Two Stories, Entrace, New York, NY

  • 2018

    Frankenstein, curated by Peter Dayton, Sag Harbor, NY

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Curriculum Vitae

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Education

  • 1988

    The New York Studio School, New York, NY

  • 1983

    The Fashion Institute of Technology, Textile Design, New York, NY

  • L’Ecole des Arts Decoratifs, Nice, France

  • 1981

    University of Michigan, History of Art, Ann Arbor, MI

Selected Solo Exhibitions

  • 2018

    Pull the Ankle and the Bobbin Will Fall, Kinescope Gallery, New York, NY

  • 2017

    The Secret Life of Porcupines, Kabinett, Boston, MA

  • 2015

    Astro-Bloom, curated by Suzy Spence, The Gallery @1GAP, Brooklyn, NY

  • 2014

    Cathouse Funeral, Brooklyn, NY

  • Melville House, Brooklyn, NY

  • 2013

    Lust Gallery, Vienna, Austria

  • 2011

    Show Room, New York, NY

  • 2009

    Clic Gallery, New York, NY

  • 2008

    Pop-Up Hable Construction, New York, NY

  • 2002

    Farrell-Pollock Fine Art, Brooklyn, NY

  • 2000

    Ethan Cohen Fine Arts, New York, NY

Selected Group Exhibitions

  • 2019

    Orphans of Painting, Ethan Cohen Kube, Beacon, NY

  • Two Stories, Entrace, New York, NY

  • 2018

    Frankenstein, curated by Peter Dayton, Sag Harbor, NY

  • X Marks the Spot: Women of the New York Studio School, New York Studio School, New York, NY

  • Monotypes with Friends, Entrance, New York, NY

  • Panorama Punjab, Patiala, India

  • Killers and Thrillers, Kabinett, Boston, MA

  • 2017

    The Mykonos Bienniale, Trans Allegoria , Mykonos, Greece

  • The Micro Salon 7, Galerie L’inlassable, Paris, France

  • 2016

    Grammar, Coustof Waxman, New York, NY

  • 2015

    The Micro Salon, Galerie L’inlassable, New York, NY

  • Paper Reveries, Shirley Fiterman Art Center, New York, NY

  • 2013

    Mary Poppins Is a Junkie, Lust Gallery, Vienna, Austria

  • 2009

    Carrie Haddad Gallery, Hudson, NY

  • 2006

    White Box, New York, NY

  • 2005

    9th Istanbul Biennale, Istanbul, Turkey

  • Gasser and Grunert, New York, NY

  • 2004

    SCOPE Featured Artist, Ethan Cohen Fine Arts, Miami, FL

  • Art Haus, Truro, MA

  • 2003

    55 Mercer Street, New York, NY

  • 2002

    Barbara Levy Gallery, Sayville, NY

Publications

  • 2009

    Vehicles for Fun, Metroland.Net, Vol.30_no30/art.html, Nadine Wasserman

  • 2001

    NY Arts Magazine, Vol 6 n.1 review, Kim Bendheim