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

Join the mailing list

* All fields are required

Jenni Crain

w. Miles Huston
Gordon Robichaux, New York, NY
January 20 – February 24, 2019

“The sonorous...outweighs form. It does not dissolve it, but rather enlarges it; it gives it amplitude, a density, and a vibration or undulation whose outline never does anything but approach. The visual persists until its disappearance; the sonorous appears and fades away into its permanence.”
– Jean-Luc Nancy

The exhibition at Gordon Robichaux presents a set of three objects in a single space: a floor-based sculpture by Jenni Crain; a wall-panel architectural “Mock-up” drawing by Miles Huston; and a collection of sounding instruments made by Harry Bertoia for his “Sonambient Sculptures,” transferred to his son, Val Bertoia, upon death.

For this exhibition, we have engaged in an ongoing conversation with Val Bertoia regarding the history of the barn where Harry Bertoia staged his orchestra of tonal works. Since Harry's death in 1978, Val has continued the workings of Bertoia Studio, as he has also continued hosting visitors to experience “Sonambient” (“the way Harry did”) aloud in the barn in Bally, Pennsylvania. Celia Bertoia, Val's sister, operates the Harry Bertoia Foundation, now located in Utah, where she lives. In 2016, after a long, embattled lawsuit, 70 of the 92 sounding sculptures were removed by Celia from the barn and relocated to Sotheby's, where they are currently stored, waiting for a patron to buy the group in its “entirety.” In the vacancy of these 70 works, Val has been making his own interpretations, an earnest yet contentious attempt to continue the legacy of his father.

In combing through the complex discordance between Val and Celia, our questions regarding the adoption and adaptation of artistic methodologies, namely the summation of an individual’s modernistic approach, be it in its technical applications or in its considerations as a worldview, remained unanswered. With two-thirds of the tonal works removed, it is difficult to understand exactly what Harry was doing out there in that barn. During our visits, Val became our medium to Harry, but in doing so, he filled in the gaps with his own ideas, effectively blurring histories and eroding intent, but also, carrying on a cardinal message. However, it is in the moment of “passing-on” that these modernist ideologies seem to fail in translation. We are often only left with a result, an object, a building, or design, which is supposed to demonstrate, in its material characteristics, how to proceed in our modern world moving forward. Val's commitment to Harry's project embodies the true modernist paradigm. It is our impulse to demarcate the pure line of thinking that intrinsically distances us from the source. Our tired notions of the “failures of modernism” have much to do with our lack of participation and with our fetishization of a limited luxury good that became inaccessible, e.g., “Design Within Reach” [sic].

In thinking through the parameters, aspirations, and deficiencies of a framework, we have revisited Rosalind Krauss' essay “Grids,” first published in 1985. We have re-presented these ideas in sculptural allusion and transposed methodology. However, full resignation to Krauss’ grid, as practice, is a misnomer when using forensic study towards conflicting recollections of it. The grid is a tool of self-aware sequencing, of sounding reverberations, repeating back to us the echoes of historical etymology: of mediums and medians and co-medians even. In our continuation of practicing the various histories of the grid, we find that we are at odds with the event of it. As Krauss suggested, “The grid marked the present and proclaimed everything else as past.”

It seems that in our cultural understanding of minor modernist histories, we are all a bit more like Val than Harry.
– Jenni Crain and Miles Huston


Jenni Crain Untitled (6), 2019. Baltic birch plywood, cotton canvas, bass wood. 12 x 72 x 90 inches


Miles Huston Mock-up, DWR, 2019. Plaster, lime, drywall, plywood, green pigment, pencil. 276 x 77 1/2 inches (pictured) / dimensions variable


Jenni Crain Cradle for Harry Bertoia’s Instruments (Courtesy of Val Bertoia), 2019. Harry Bertoia’s sounding instruments, baltic birch plywood. 25 1/2 x 30 3/4 x 5 1/2 inches