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 by clicking here.

A fundraising bandana featuring Crain’s work may be purchased by clicking here. An image of the bandana can be viewed by clicking here.

The Jenni Crain Foundation
130 Third Avenue
Brentwood, NY 11717
info@JenniCrainFoundation.org

Jenni Crain

If Not Now
Pratt Institute, Brooklyn, NY
Louise Bourgeois, LaToya Ruby Frazier, Ann Gillen, Anna Maria Maiolino, Beverly Pepper, Alison Saar, Deborah Willis
October 28 – November 25, 2018

Pratt Institute is pleased to present If Not Now, the second exhibition of the Pratt Institute Survey Exhibition Series developed and inaugurated by alumna Jenni Crain in 2017. The ongoing series of exhibitions features the work of participants within Pratt Institute’s program since the institution’s founding in 1887 through to the present. Each of the artists included in If Not Now have contributed to Pratt Institute’s legacy be it as students, faculty or as recipients of honorary degrees.

Throughout the series of past exhibitions that I have organized at Pratt Institute, I have focused on bringing together the artworks of participants within Pratt’s program, from its very beginnings in the late 1800’s through to the present, who’s various backgrounds and areas of exploration demonstrate not only the linkage and development of generational inheritance, but also the ways in which these evolutions reflect the progression of dispositions amongst cyclical cultural narratives. There is at once mimicry, adaptation, and transformation. Behavioral patterns present themselves in ways that both build and divide communities, creating alternative grounds on which to relate, relay, or rehearse.

As an alumna of Pratt Institute myself, with ambitions of engaging equally amongst the institution’s bountiful legacy and its burgeoning prospect, I have begun to understand this lineage as something almost familial. In my avid research to connect with Pratt’s past and my active interest to remain involved with current and upcoming student bodies, I have come to appreciate these predecessors and successors as peers, as mentors, and as relatives of sorts, perhaps distant in terms of interpersonal immediacy, but bound by shared, adopted and adapted experiences, beliefs, values and ideas.

If Not Now is conceived through this lens of family as a community, as a principal nucleus of socialization and education, which evolves sequentially in response to the lessons learned and imparted by those who came before. In this metaphor of the institutional network as a familial entity, I have gravitated towards these concepts of responsibility and legacy through the artworks of a multigenerational group of female artists, each of who have participated within Pratt's program as students, as faculty or as recipients of honorary degrees. These artists and artworks address themes of heritage, be it political, economic, civic, familial and/or personal, by reconstructing time-bound narratives in manners that promote their redirection and progress, accelerating their contemplation and confrontation by future generations.

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Deborah Willis Hank Pending, 1976-2008. Gelatin silver print. 18 x 36 inches

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Louise Bourgeois UNTITLED, 2003. Watercolor on paper. 8 x 9 1/2 inches

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Louise Bourgeois The Puritan: Study #51, 1990-1997. Engraving, gouache, watercolor and ink on paper. 25 1/2 x 59 1/2 inches

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LaToya Ruby Frazier Grandma Ruby and Me in Her Livingroom, 2007. Silver gelatin print. 14 x 11 3/10 inches

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Ann Gillen PROTEST, 1969. Marine plywood, oil paint, hardware. 72 x 144 x 24 inches

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Beverly Pepper Ptolemy’s Wedge, 2010. Coren steel. 120 x 13 5/8 x 15 inches

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Anna Maria Maiolino (L) Untitled from the series Codicilli, 1993. Molded cement mixed with sand. 15 1/4 x 16 1/2 x 1 3/4 inches (R) Untitled from the series Codicilli, 1993. Molded cement mixed with sand. 15 1/4 x 16 1/2 x 2 1/2 inches

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Alison Saar Silted Brow, 2016. Charcoal, chalk and acrylic on linen, found trunk drawer.17 x 27 x 3 inches