Research in a Growth Hormone

Artist Alfred Jensen (American, born Guatamala, 1903 - 1981)

Date1978

MediumOil on canvas

DimensionsOverall: 114 × 96 inches (289.56 × 243.84 cm)

Credit LinePurchase: acquired through the generosity of the William T. Kemper Foundation–Commerce Bank, Trustee

Object number2007.8

On View

Not on view

Collections

Contemporary Art

Terms

DescriptionThis painting consists of two vertical, black-and-white checkerboard patterns framing 16 vertically oriented rectangles. Each rectangle is composed of concentric rectangles of a single color, which are overlaid with abstract markings resembling plus signs, stacked rows of parallel lines, v-like shapes, and so on. At the top of the painting, written in cursive, are the words, Research in a Growth Hormone.Exhibition History

Exhibition History

Alfred Jensen: The Late Works, The Pace Gallery, New York, December 2, 1983-January 7, 1984, unnumbered.
Alfred Jensen: Paintings and Works on Paper, Solomon R. Guggenheim Museum, New York, September-November 3, 1985, no. 29.
Alfred Jensen, Pace Wildenstein, New York, September 15-October 13, 2001, no cat.
Non composition: 15 Case Studies, 1955-1980, Wadsworth Atheneum Museum of Art, Hartford, December 22, 2001-June 23, 2002, no cat.
Alfred Jensen: The Number Paintings, PaceWildenstein, New York, September 29-October 28, 2006, unnumbered.
Cosmologies, James Cohan Gallery, New York, January 11-February 10, 2007, no cat.

Gallery Label

Alfred Jensen was an outsider in the art world of his time. His visionary paintings, depicting abstract cosmic principles, are based on ancient numbering systems, Tantric diagrams, science and color theory. In Research in a Growth Hormone, black-and-white checkerboards frame rectangular patterns overlaid with abstract notations. All are visually united by the title. The checkerboard, a duality of black and white, symbolizes repeating cycles of night and day, and, thus, eternity. Concentric rectangles of colors correspond to male/female dualities-warm red, orange and yellow represent male aggression, while cool green, blue and violet suggest female passivity. The abstract notations were inspired by ancient Chinese numbering systems. In the title, Jensen alludes to the genetic structures of life, yet, as a whole, the painting seems to evoke the universe.

Provenance

The Estate of Alfred Jensen;
With the Pace Gallery, New York;
Private Collection, Columbus, OH;
With Pace Wildenstein, New York, by 2007;
Purchased from PaceWildenstein by the Nelson-Atkins Museum of Art, Kansas City, MO, 2007.

Published References

Regina Bogat, ed., Alfred J. Jensen, December 11, 1903-April 4, 1981: A Memorial (Los Angeles: Regina Bogat, 1981), 22.
Alfred Jensen: The Late Works with text by Alfred Jensen, exh. cat. (New York: The Pace Gallery, 1984), 13, (repro.).
James F. Cooper, “Galleries: Jensen’s Numbers Reflect a Peculiar Internal Sincerity” Herald Tribune (December 23, 1983): 6B.
Kim Levin, “The Day Before” Village Voice (January 3, 1984): 74.
Maria Reidelbach and Peter Schjeldahl, Alfred Jensen: Paintings and Works on Paper, exh. cat. (New York: Solomon R. Guggenheim Museum, 1985), no. 29, 69, (repro.).
“Alfred Jensen: Guggenheim Museum” The New York Times (September 13, 1985).
“Alfred Jensen Exhibit Opens at the Guggenheim” Antiques and The Arts Weekly (September 19, 1985).
“El Guatemalteco Alfred Jensen, sus pinturas y trabajos en papel en el Museo Guggenheim” Impacto, (October 3-9, 1985): 2, 1, (repro.).
Theodore Wolff, “Everything Was Distilled, Coded, Modified” Christian Science Monitor (October 17, 1985): 3.
“Alfred Jensen: Solomon R. Guggenheim Museum” Artforum (December 1985): 91.
Grace Glueck, “Overpowering Colors and Dizzying Theories” The New York Times (September 28, 2001): E34.
William C. Agee, Alfred Jensen: The Number Paintings, exh. cat. (New York: PaceWildenstein, 2006), 25, (repro.).
David Cohen, “Arts and Letters-Gallery Going: Paint By Numbers” New York Sun (October 12, 2006): 18.
R.C. Baker, “Best in Show: Recommendations by R. C. Baker” Village Voice (October 18-24, 2006): 146.
Ben La Rocco, “Artseen: Alfred Jensen” The Brooklyn Rail (November 2006): 40.
Adam Jasper, “Signs of the Times: Cosmologies” Art Review (January 2007).
Jerry Saltz, “The Biggest Picture” The Village Voice (February 1, 2007).
Frank Holliday, “Order Out of Chaos” Gay City News (February 1, 2007).
Roberta Smith, “Art in Review: Cosmologies” The New York Times (February 2, 2007).
Kevin Conley, ed., “Galleries—Chelsea: Cosmologies” New Yorker (February 12, 2007).
Jan Schall and Robert Storr, Sparks! The William T. Kemper Collecting Initiative (Kansas City: The Nelson-Atkins Museum of Art, 2008), 88, 89, (repro.).

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