Jennifer Wynne Reeves
Day 9, 1994
Oil, pencil on board
17 x 13 1/3 inches
Jennifer Wynne Reeves
Day 6, 1994
Oil, pencil on board
15 3/4 x 12 3/4 inches
Jennifer Wynne Reeves
City Top II, 1990
Oil on board
11 x 21 1/2 inches
Jennifer Wynne Reeves
Look 1, 1994
Oil, pencil on board
8 x 11 3/4 inches
Jennifer Wynne Reeves
Day 12, 1994
Oil, pencil on board
8 x 12 inches
Jennifer Wynne Reeves
Day 18, 1994
Oil on board
12 x 10 1/2 inches
Jennifer Wynne Reeves
Day 31, 1994
Oil on board
8 x 8 inches
Jennifer Wynne Reeves
Day 10, 1994
Oil, pencil on board
15 x 3/4 x 11 3/4 inches
Jenifer Wynne Reeves
Day 7, 1994
Oil on board
11 3/4 x 14 1/4 inches
Jenifer Wynne Reeves
Day 29, 1994
Oil, pencil on board
8 x 8 inches
Jennifer Wynne Reeves
Place (31), 1995
Acrylic, pencil on multimedia board
16 x 24 inches
Jennifer Wynne Reeves
White Bird, 2013
Acrylic, gouache on museum board
20 x 13 inches
Jennifer Wynne Reeves
Day 35, 2013
Acrylic, oil on panel
12 1/2 x 10 1/2 inches
Jennifer Wynne Reeves
Study for A Painter's Rule: Have a Plan But Be Willing To Throw It All Away, 2001
Acrylic, pen on birch panel
17 1/4 x 30 1/4 inches
Jennifer Wynne Reeves
Masturbates To Sex In The City, 2002
Acrylic on paper
12 x 18 inches
Jennifer Wynne Reeves
Day 22, 1994
Oil on board
12 x 12 inches
Jennifer Wynne Reeves
Day 25, 1994
Oil on board
8 x 8 inches
Jennifer Wynne Reeves
Study for Landscape With Triangle, 2001
Acrylic on birch panel
12 1/2 x 20 1/2 inches
Jennifer Wynne Reeves
Place (30), 1995
Acrylic, pencil on Acryla Weave

Jennifer Reeves’ exhibition career lasted only 22 years but in that brief time Reeves received much critical acclaim for, as her archive states: “...creating a body of paintings, drawings and photographs that speak to and confront formalist and humanist dilemmas". Beyond her achievements in the art world, Reeves enjoyed a considerable fan-base as a result of her astonishing Facebook presence where she chronicled and interwove her art and diaristic prose knowing her life would soon be cut short.


After a series of regional solo exhibitions in ‘92 and ‘93 a solo show in Paris in 1994 where she lived for a time Reeves had her first solo exhibition in New York at Helen Harwood Gallery in 1995. Several critics took notice and a second solo in New York followed in 1997 at The Roger Smith Hotel. After the Roger Smith Hotel show more exhibits followed quickly through 2002 in the United States & internationally including Stefan Stux in New York, Gian Enzo Sperone in Rome, Art & Public in Geneva, Gorney Bravin Lee in New York, The Worchester Art Museum, Max Protect, New York, David Klein Gallery in Birmingham MI and Ramis Barquet in New York & Monterey Mexico. Reeves had five solos exhibitions with Barquet thru 2011 plus scores of group shows at galleries including Derek Eller, Calicoon Fine Arts, Caren Golden, Brent Sikkema, Danese Gallery, Leslie Heller and more.


“A painter's rule: Have a plan but be willing to throw it all away” opens with 19 small oils + mixed media of Reeve’s work from 1990 to 2013. The majority of the work circles around the period 1994-1995 just as Reeves career went into overdrive with paintings that changed from her early slugs series (transformative figures) into what she became best known for: colorful abstract mixed media paintings that confronted formalist & human dilemmas. This is the first exhibition at Philip Douglas Fine Art with the estate of Jennifer Reeves and the first solo exhibit of her work since her show at Hutchinson Contemporary in New York in 2022. In addition to Reeves paintings & constructions she also produced two well received books, a graphic novel The Anyway Ember and Soul Bolt, a book of her photographic images and prose. Reeves is a John Simon Guggenheim Fellow recipient.