Jones and Jolley are both “obsessive collectors,” and their ability to modulate their enthusiasm to suit the needs of their clients has enabled them to build a reputation for integrity, taste, and vision.
One measure of their vision is the company they keep. JAYJAY’s small stable of artists includes many of the region’s most respected names, about 20 in all, representing painting, sculpture, and photography. And while these artists are all quite different from each other, they do have two things in common: they are all mature artists with extensive exhibition records and they have regional or national reputations.
Another measure of JAYJAY’s vision is the role that Jones and Jolley have played in the community as tastemakers. As recently as 10 years ago, local galleries remained committed to the styles that first put Sacramento on the national art map in the 1960’s: Bay Area figuration and landscape, funk and clay sculpture. JAYJAY launched in 2000, introduced an eclectic group of artists whose ideas were fresh and new to the region. The gallery exhibits international styles ranging from the high modernism of artists like Mark Emerson and Roger Berry to the decidedly postmodernist sensibilities of innovators like David Wetzl, Dean DeCocker, and Joan Moment. These artists – most of whom are abstractionists – appeal not only to longstanding individual and corporate buyers, but also to a burgeoning group of newcomers whose tastes (and collections) are shaped by the experience of living in other metropolitan regions.
Jones and Jolley have long had their finger on the city’s aesthetic pulse. They became partners in 1999 and opened JAYJAY the following year in a small storefront on Franklin Boulevard. Three years later, in 2002, they expanded to a 2,000 square-foot space in a newly renovated commercial building in East Sacramento. Jones trained as a painter at CSUS under Steve Kaltenbach and Carlos Villa, and got her start in the art business in 1984 at the Jennifer Pauls Gallery. When its artist/owner, Maria Alquilar, saw her own career take off, she sold the business to Jones and co-partner, Dean Moniz, who ran it until 1994. Jones left the business in 1990, and then worked as a corporate art consultant (to Hewlett-Packard, Sprint, Kaiser Permanente, and NCG Porter Novelli) and served as president of the board of director of the Center for Contemporary Art.
Jolley studied Philosophy and Drama at Mills College in Oakland, CA and completed her BA degree in Humanities with an emphasis in Art History at CSU, Sacramento. She was owner and director of the alternative gallery Big Art (1992-2000) and joined Beth Jones as an associate in January of 2000. Her eight years of gallery management included consulting to numerous private collectors and in this regard, has lectured at the Crocker Art Museum on acquiring and maintaining a contemporary art collection. Also, Jolley served on the Board of Directors for the Center for Contemporary Art (1995-2000) and the Board of Directors for Uptown Arts (1996-1998).
Featured piece: Blown kiss by Gary Viviano.
Gary Viviano’s painting Blown Kiss meets the viewer with a disjunctive reality. The objects, figures and forms that are scattered throughout are identifiable things that we have all encountered in real life. Upon an immediate viewing there is a disconnection between the imagery, but this disconnect is temporary. Viviano’s work is not a what-you-see-is-what-you-get type of experience. Viewing the work begins with the eyes but soon engages all of the senses.
Central to the composition, there is the figure of a man pulling two ropes, one in each hand. The tension that the ropes contain is perceptible as the quality of line stretches itself out diagonally across the panel. As the figure pulls the ropes upwards there is a secondary figure to the left who is contemplatively holding the lines casually. He does not appear to be physically struggling like his counter point. The way the figure’s head is constructed suggests a struggle that occurs internally. A dog head pokes out acting as an arrow that urges the viewer to glance to the right. These three elements complete a triad that acts as a cyclical entrance point into the work. Opposite to the triad there is a female figure. Her gesture and the air that surrounds her suggest an atmospheric pull to the right.
Gary Viviano’s work acts a visual prose poem. It doesn’t rely on bells and whistles or fancy rhythmic structure. It doesn’t need to. Lines of connectivity run throughout the work. A veiled hand extends itself to a pair of saturated red lips. A vaguely defined boat sits upon still water. The contour line of an apple awkwardly presents itself. Everything sits in space, but that space is fluid and ever changing. It is not in what Viviano is painting that matters most; it is how he is painting it.
For a closer look at Blown Kiss, as well as other works by Viviano, come visit JAYJAY Wednesday- Saturday, 11am- 4 pm!
5524 B Elvas Ave.
Sacramento, CA 95819
Gallery Hours by appointment