Exhibitions

Jill Bonovitz: Penetrable Vessels

Project Room 2 Jun 11–Aug 13, 2005

+ Share Exhibition

 

+ Become a Member

Please support SMMoA by becoming a member today.

Learn More

+ Exhibition Support

Please support SMMoA’s exhibitions and public programs. 

Learn More

 
Buy Tickets/RSVP X

Online bookings are not available for this event.

Complete the secure form below. Tickets will be held under name provided. Fields marked with an * are required.

Step 1:Ticket-Holder Information

Please feel welcome to include your partner’s name here.

For international addresses, please contact us.

Step 2: Billing Information

(Not required for RSVPs)
Continue Next Step: REVIEW

Review your details below. Select Edit to make changes or Submit to complete the transaction.

Step 3:Review

EVENT
Jill Bonovitz: Penetrable Vessels
Jun 11–Aug 13, 2005

TICKETS

TICKET-HOLDER INFORMATION

BILLING INFORMATION

Edit

Step 4:Submit Payment

Submit
Processing. Please wait ...

Email Confirmation
Once your submission has been processed you will be sent an email confirmation.

Step 5:Print Confirmation

Thank you for your RSVP and/or purchase. You will receive a confirmation email.

You may want to print this page for your records. When you are done, click Close to return to the program details.

Print Close

Error

There was a problem processing your payment. Please Click the Edit button to go back and make corrections.

Penetrable Vessels, 2005, Installation view

For Penetrable Vessels, Jill Bonovitz used the thinnest wire to create, in her words, ”the edges of what’s not there.” These intimate, ethereal, and personal vessel forms, at once intriguing and playful, reveal how the shapes between the wires are just as important as the wires themselves. Inspired by the random scribbles of her year-old grandchild and the intricate weaving of a spider’s web, Bonovitz created a body of work that both embodies and defies the vessel form. She explored a range of aesthetic interests–the process of drawing, the physicality of sculpted objects, and the translucency of materials–that have engaged her over the past twenty-five years of working in porcelain and clay.