Anvil Gallery, 2014
Shire City Sanctuary, 2015
In response to the hyper-competitive art game, Cindy Hoose and Jacinta Bunnell played with their art to create the 52 pieces in your turn, dear, taking turns on each painting in a manner reminiscent of Exquisite Corpse. Their work directs our attention to the reasons we play games: to explore the world imaginatively, free of the hope for success or the fear of failure, and to connect with each other in the spirit of joy and sentimentality. In taking turns painting, Hoose and Bunnell had to forego the solo artist’s executive authority, risking each move to the counterplay of the other player, and enter into the uncertainty of outcome essential to all games. From firehouse bingo to Mah Jongg, games have functioned to educate, entertain, transmit tradition and facilitate human communion throughout history: your turn, dear celebrates this ongoing history and longs for a time and place where being social does not involve technology. Hoose and Bunnell spent 52 weeks working with 52 vintage game boards-turned-canvases. In keeping with their commitment to make art from recycled materials, they scavenged yard sales and thrift stores for games and framing materials which became a series of paintings exploring the concept of play. Just as games can serve as a counterbalance to employment, where the worries of competition and promotion can dominate, the playful paintings in this show counteract the creeping contrivance of cultural art.
TeamLove Ravenhouse Gallery, 2013
“13” was an on-going collaboration between Jacinta Bunnell and her step-father, Edward Antoine, who supplied her with collections of tally sheets from 'Thirteen', a card game first brought back to the family from her grandparents' retirement community in Jensen Beach, Florida in the 1970s. Bunnell added intricate pattern to Antoine’s superbly beautiful grid-work tally sheets.
SUNY Ulster, 2013
Curated by Keiko Sono
The exhibit illustrated the richness and vibrancy of the arts community of the Hudson Valley, while actively contributing to such richness by making and strengthening connections within and beyond the arts community. The installation also showed small segments of the artists’ lives, such as a transplanted corner of an artist’s studio and a sampling of wardrobe from another’s closet, demonstrating that creativity is not confined to finished products. Participating artists included Christy Rupp, Kathy Ruttenberg, Neal Hollinger, Jacinta Bunnell, Polly Law, Beth Humphrey, Ken Greene, Wayne Montecalvo, Anne Gorrick, Dean Jones and Marlon DuBois.
Text here about Card Paintings.
Huguenot Street Farm, 2012
Pea Pods is a permanent installation in the CSA distribution barn at Huguenot Street Farm. Using historical documents, Pea Pods tells part of the story of Huguenot Street Farm in New Paltz. Long time CSA member, Jacinta Bunnell, spent the summer gathering deeds, maps and documents from the Hasbrouck family, the founders of Huguenot Street Farm CSA, as well as the Huguenot Historic Street Society and Ulster County Clerk's Office. Land auction papers, a treaty signed by the Munsee Indians and Open Space Institute maps are transformed into a dynamic abstract representation of the farm. As the farm itself asks us to know where our food comes from, this wall installation asks us to know what this land is, who was here, what happened here before us. This project was made possible by the support of Jeremy Mindich, Kate and Ron Khosla, Yess Construction, Michael Asbill, Michael Wilcock, Haviland-Heidgerd Historical Collection, Jody Abbott, Bibi Sandstrom, the Hasbrouck family, Huguenot Historic Street, Ulster County Clerk's Office and then-Mayor Jason West.
Allegheny College, 2010
The artists invited to participate in this exhibition presented diverse experiences of gender, sexuality and ethnicity. Though each of the artists works toward different specific ends, what united them is a refusal to conform to banal and limiting myths about prevailing systems of political representation, discourse, and their categorized place(s) within those systems. Their works question the complicated ways in which ideological hierarchies serve to distribute power, privilege and opportunity.
KMOCA (Kingston Museum of Contemporary Arts), 2010
Inspired by the artwork of the children in her life, Hudson Valley artist Jacinta Bunnell presented a collection of mixed media paintings created over the course of one year. This show featured all new work, shown alongside the drawings of young artists that influenced her art.
Children make art without trying to get paid or get famous. They typically do not dwell on whether art is good or bad. The art they make represents the very alive pictures within their imaginations.
This body of work drew direct inspiration from the art of children Jacinta knows and loves. What this meant for the viewer was that they saw paintings of pirates, monsters, cats, monster cats, airplanes and foxes. Through her study she once and for all settled the argument about whether monsters are, in fact, real.
Rosendale Cafe, 2008
This show was an artistic duet. Jacinta and Cindy collaborated closely, sharing themes, color schemes, content and materials. While each of their work was done separately in their own studios, close planning and communication led to an engaging mirroring of styles and ideas. When Cindy and Jacinta come together, their superhero powers are activated. They can transform everyday materials into anything tangentially related to mythological creatures and baby animals, made up of found fabric scraps, lime green paint and vintage buttons. Each pair of paintings was like a carnival side show at Noah's ark.
Description for mixed media page