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Jeffrey Cortland Jones

Jeffrey Cortland Jones is a painter, curator, and professor who lives in Southwestern Ohio. His work is represented by Galleri Urbane, Dallas, TX; Gallery IMA, Seattle, WA; Kathryn Markel Fine Arts, New York, NY; Sarah Gormley Gallery, Columbus, OH: TW Fine Art, Brisbane, Australia; and &Gallery, Edinburgh, Scotland.
Jeffrey’s work has been exhibited widely at national and international venues including Kathryn Markel Fine Arts, New York; the Painting Center, New York; the Indianapolis Museum of Contemporary Art; Jamie Brooks Fine Art, Los Angeles, Cheryl Hazan Contemporary, New York; Lyons Wier Gallery, New York; Skibum MacArthur, Los Angeles; Centre d’art Contemporain, Metz, France; M17 Contemporary Art Center, Kiev, Ukraine; the Elmhurst Art Museum, Chicago; Pratt Institute, Brooklyn; Galleri Urbane, Dallas; &Gallery, Edinburgh, Scotland; Weston Art Gallery, Cincinnati; Gray Contemporary, Houston; the Museum Sankt Wendel, Sankt Wendel, Germany; Sarah Gormley Gallery, Columbus; Saturation Point, London, England; Mini Galerie, Amsterdam, Netherlands; Galerie oqbo, Berlin, Germany; TW Fine Art, Brisbane, Australia; Sideshow Gallery, Brooklyn; the Dayton Art Institute, Dayton; Galerie Biesenbach, Cologne, Germany; and Tiger Strikes Asteroid, Philadelphia. His work has been written about in the Contemporary Art Review LA, WideWalls, showcased twice in New American Paintings, and in the Wall Street Journal, here Peter Plagens wrote that his solo exhibition at Kathryn Markel Fine Arts was “the best thing I’ve seen in a long time.”
He received a Master of Fine Art from the University of Cincinnati’s College of Design, Art, Architecture, and Planning and a Bachelor of Fine Arts from the University of Tennessee at Chattanooga, both in Painting and Drawing. Jeffrey is a Professor of Art at the University of Dayton where he heads the Painting program.


As a painter, I am interested in:


locating
apprehending then releasing
the resistance of a color then surrendering to it
a hard edge as it softens
the slight peeking that come from covering and layering
that space between the wall and object
when shallow and deep appear the same
what it’s like to look through the fog
when a mostly matte surface shifts to a little tinge of gloss that hangs out at the edge
that place between misplacing and finding
how white can be both warm and cool at the same time
when you find that correcting is making it worse
the moment when a stable stack is on the verge of collapse
when contemplation breaks down and you go for it

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