An impossibility of seeing in totality is an integral concept in my work. Blue Shift is comprised of a series of diptychs: a two-color painting that contrasts under sunlight but has an identical tone under moonlight paired with a black and white photo of the painting exposed under moonlight. The works shift with changing light conditions. Similarly, my human-scale sculptures appear to change form as the viewer changes position. These works reference the figure and suggest shifting bodies.
Materiality of representation is addressed in Diffractive Acts. Rolls of film are exposed multiple times. The negative frame slips from being a container for the image and becomes an active element in the compositions.
Double Mouth Feedback incorporates the material aspects of sound, using wave patterns, interference phenomena, and vocal superposition to structure the composition and collectively imagine a more inclusive and expansive gender system. The source material is generated from recordings of participants responding to a series of prompts asking them to manifest their experience of gender through vocal sound. In the discrete recordings, common vocalizations occur; the piece builds its own language.
The compositions in Articulation Without Language are informed by transcriptions of the recordings of Double Mouth Feedback and interference phenomena. The prints are meant to induce subvocalization, the internal voice one hears when reading; it is a silent sound piece.
The Potential in Waves Colliding incorporates an impossibility of seeing in totality, visual interference, and sound representation.
Cumulatively, these works represent the meeting of materiality, meaning, and perception that is central to my practice.
MFA, New York University, New York, NY
BFA, Intermedia, Pacific Northwest College of Art, Portland, OR
Occupancy, Boston University Art Galleries, Boston, MA
2 Years of Looking, New Art Projects, London, UK
Sites of Exchange: Lavender Diaspora, Clifford Chance, New York, NY
Shifters, Art in General, Brooklyn, NY
The Queens International, The Queens Museum, Queens, NY
Objects are Slow Events, Hessel Museum of Art and CCS Bard Galleries, Bard College, NY
Language of Birds, 80WSE, New York, NY
Greater New York, MoMA PS1, Queens, New York
Island Time, Contemporary Art Museum Houston, Houston, TX
Blue Shift, Platform Center for Photographic and Digital Arts, Winnipeg, MB. Solo.
Shandaken Project Retrospective Exhibition, New York, NY
The Dislocated Center of the Material World, Galveston Art Residency, Galveston, TX. Solo.
Small Works for a Big Change SRLP Jack Studios, New York, NY. Benefit.
UP ON, mover in Gordon Hall’s sculpture and performance, Sculpture Center, 2012
B-OUT, Andrew Edlin Gallery, New York, NY
Herstory Inventory. 100 Feminist Drawings by 100 Artists, Brooklyn Museum, NY
Herstory Inventory. 100 Feminist Drawings by 100 Artists, Kunsthaus Bregenz, Austria
Pretty Vacant, Collective Projects, Brooklyn, NY
Resurrection, Cinders Gallery, Brooklyn, NY
A Certain Ratio, Roots & Culture, Chicago, IL.
The Every Other Day, Ideobox Artspace, Miami, FL.
Material/Immaterial, Shoshawna Wayne Gallery, Santa Monica, CA.
Lost Horizon, EXILE Ausstellungraum, Berlin, Germany.
Ox-Bow Centennial Show, Roots and Culture, Chicago, IL.
Evading Customs, Brown Gallery, London, England.
Drawing Gifts, The Drawing Center Benefit, New York, NY. Benefit.
The Noble Savage and the Little Tramp, Mount Tremper Arts, NY.
DiSoRgAnIzEd, Museum 52, New York, NY.
Works on Paper, Bellwether, New York, NY.
Sonata for Executioner and Various Young Women, André Schlechtriem, New York, NY.
K48 (Installation), Torpedo Kunstbokhandelen, Oslo, Norway.
New Black, Triple Canopy, Starr Space, Brooklyn, NY.
O Canada, MC Gallery, New York, NY.
K48, John Connelly Presents, New York, NY.
If I told you you were beautiful, Oliver Kamm, New York, NY.
The Measure, Bellwether Gallery, New York, NY. Solo.
Beginnings, Why and Wherefore. Curitorial Website Project by Summer Guthery, Lumi Tan and Nicholas Weist.
Small Works for a Big Change SRLP Sara Meltzer Gallery, New York, NY. Benefit.
All is Well That Begins Well and Has No End, 80WSE Gallery, New York, NY.
07/08, Bellwether Gallery, New York, NY.
Look Away, Cynthia Broan Gallery, New York, NY. Curated by Jon Torreano and Michael St James.
Inter-Dimensional Mirror, The Armory Show, Bellwether, New York, NY.
Aspects, Forms, and Figures. Bellwether, New York, NY. Curated by Joao Ribas and Becky Smith.
RESIDENCIES AND FELLOWSHIPS
Recess Sessions, New York, NY. 2015.
FIAR, Fire Island Artist residency, Fire Island, NY. 2014
Visiting Artist, Shandaken Artist Residency, Shandaken, NY. 2014
Galveston Artist Residency, Galveston, TX. 2013
Artist in Residence, Ox-Bow, Saugatauk, MI 2008
“Seeing Commitments: Jonah Groeneboer’s Ethics of Discernment,” David Getsy, Temporary Art Review, March 8 2016.
“Appearing Differently: Abstraction’s Transgender and Queer Capacities, an interview with David Getsy,” William Simmons, interviewer, in Dietmar Schwärzler, et al., eds., Pink Labour on Golden Streets: When Form Becomes Politics (Vienna: Schriftenreihe of the Academy of Fine Arts, Vienna, and Sternberg Press, forthcoming fall 2015).
“The Unforeclosed,” David J. Getsy, Flex catalogue essay.
“Queer Formalisms: Jennifer Doyle and David Getsy in Conversation,” Art Journal 72.4 (Winter 2013)
Thacker, Eugene. “Black on Black.” Mute Magazine. MetaMute, 17 July 2013. Web. http://www.metamute.org/editorial/occultural-studies-column/black-black.
Martha Schwendener: Collaborative and Solo, With a Certain Feminist Bent. The New York Times, September 7, 2012.
Fitzgerald, Ali. “Lives and Works in Berlin: Head Shop / Lost Horizon at Exile.” Art 21 Blog. Art 21, 02 September 2010. Web.<http://blog.art21.org/2010/09/02/head-shoplost-horizon-at-exile/.
Scott, Andrea, “Jonah Groeneboer,” The New Yorker, Feb 4, 2008, p. 12.
Rosenberg, Karen, “Jonah Groeneboer, The Measure” The New York Times, Feb 1, 2008. p. E35
Willse, Craig, “Craig Willse talks to Jonah Groeneboer,” NY Arts Magazine, Jan 2008, Vol. 13, No. 1/2, p.36
Weist, Nicholas, “A Look at Jonah Groeneboer,” ARTslant, Jan 8, 2008.
Cotter, Holland, “Art in Review: Aspects, Forms and Figures,” The New York Times, March 2, 2007.
ARTIST TALKS AND PANEL PARTICIPATION
Jonah Groeneboer, Sayeed Jones, and Shelley Marlow, Adult Contemporary Reading Series, New York, NY.
Herstory Inventory Panel Paricipant, The New York Public Library, New York, NY.
4 x 4: Four Contemporary Artists, Four Approaches to Drawing, The Drawing Center, New York, NY
# Class Collecting Panel Participant, Winkleman Gallery, New York, NY. 2009
Visiting Artist Lecture, Senior Studio Class, New York University, New York, NY.