The Jenni Crain Foundation

Jenni Crain (1991–2021) was an esteemed artist and curator who passed away suddenly due to complications related to Covid-19. She was widely recognized for her original minimalist sculpture and curatorial projects that championed under-recognized women artists as well as for her rigorous scholarship and writing. Crain was a passionate and tireless advocate of artists and art. Throughout her life, she built a vast community of friends, collaborators, and colleagues whose work she drove forward with generosity, sensitivity, and the deep probing intelligence with which she considered the world.

The Foundation preserves her legacy by supporting transformative projects by artists, curators, and writers of any age at early or pivotal stages of their career.

In honor of her memory, The Jenni Crain Foundation provides grants in two areas:
1. Finishing funds toward the completion of a significant project ranging from an exhibition, arts publication, or work of art across disciplines and forms.
2. Support for original research which may include travel, accommodation, and any funds required for accessing or studying materials.

Donations may be mailed to the address below or made online via PayPal or Square. Fundraising editions are available here.

The Jenni Crain Foundation
130 Third Avenue Brentwood, NY 11717

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Jenni Crain

A Sieve Itself May Sieve
Co-curated w. Lydia Glenn-Murray
Shanaynay, Paris, FR
Kelly Akashi, Talia Chetrit, William King, Tori Wrånes
July 29 – August 20, 2016

A Sieve Is A Thing That Sifts. A Sieve Itself May Sieve.

A sieve may sift through sieving through shifts from left to right and sifts from right to left. The enmeshed body singularized and the characteristically conformed in uniformity. Mantras of movements choreographed to one intent times two. The positive, cast in its own attribution, negated as refuse or sought for the very refused attributions attributing to its negation. The dispersed, through its distribution, a comprehensive coalescence of eroded entities, embraced on the one hand for effective homogenization, discarded on the other, for having effectively evinced that which failed to fuse. Sift, a verb derived from the act of enacting a sieve, is also a noun, the act of enacting itself. Sieve of which sift is derived, a noun, a woven mesh or net, a device which concurrently isolates and integrates that which it sieves, verb, to put through a sieve, to sift.

Un tami tamise. En soi le tamis passe.

Tamis tamise par passage gauche-droite et tamisage de passe — droite-gauche. Le corps en vrac est démantelé alors que la partie conforme s’uniformise. Litanie de mouvements chorégraphiés par une intention doublée. Alors que le positif se définit par ses propres attributions, le négatif s’apparente au refoulé. Le résultat est une coalescence complète d’éléments détériorés, la part qui s’intègrent d’un côté — bien homogène, et le reste, incapable de fusionner. Tamiser du tamis et son emploi. Le tamis, c’est le filet tissé, cet appareil qui à la fois isole et intègre l’ensemble qu’il tamise.

Text by Jenni Crain and Lydia Glenn-Murray. Translation by Ana Iwataki and Mathieu Joubert.


Kelly Akashi Structure IV, 2015. Lost wax cast bronze and glass. 11 x 6.5 x 6 inches


Talia Chetrit Parents/Makeup, 2014. Digital C-print. 27 x 31 inches (framed)


Tori Wrånes Opposite is also True 2, 2011-2012. Digital C-­print. 52.75 x 51 inches


Tori Wrånes Opposite is also True 2, 2011-2012. Denim, textile, shoes, and hidden silicone prosthetic organ w. acrylic paint + synthetic hair. Dimensions vary


William King Red Man, 1983. Vinyl, wire. 70 x 26 x 18 inches


Supplemental booklet designed with and printed by Gerardo Madera in New York, NY. Edition of 125.