Selected Reviews & Critical Essays
Carter Ratcliff, "Vital Geometries:Temporality and Timelessness in the Worldline Schreiber Paintings."
Catalog essay for solo exhibition Worldline Schreiber Paintings Plus…
Sept. 7 - October 7, 2017, GarveySimon, 547 W 27th St, NYC, p 9-11.
Carter Ratcliff, “"Syntax and Sensibility,The Paintings of Jeanette Fintz"
Freeling Isa, “Worldline Schreiber Paintings by Jeanette Fintz at GarveySimon," Art & Culture, The Huffington Post, October 12, 2017
WSI “Worldline Schreiber Paintings _Sept 7-Oct 7, 2017 GarveySimon Gallery NY USA," Wall Street International, Art, Sept 14, 2017
Thomas Lail- The Times Union, Aug. 1992
“A delicate balance exists in the works between the transcendant beauty
that relates perhaps to Brice Marden’s paintings, and a more coolly
analytic experimentation, but it is the cross pollination that is of
particular note. Investing the rational with the poetic and the
reverential with the analytic, Fintz opens up possibilities for
resituating her work and if one follows, the metaphor, for much of our
Rich Kriener- Metroland Dec. 1994
If exhibitions were Broadway musical these (paintings) would be show -
stoppers. They are grand, expansive, vibrant and generous and you’ll
find yourself abuzz with them as you leave. Fintz’s use of color is
brazen: the alternation, contrasts and transitions are dazzling.”
“Fintz renders rhythmic abstractions that are casually analytic. They
are smart but untroubled by insular theory, intellectual without being
Ronny Cohen- catalogue essay, Sept. 1994.
“Including colorful dots and blips and lines, the imagery in its open
frame work seems to swing and sway before our eyes and impress a symbol
of the forces of design and chance so instrumental in determining place
in the universe.”
“…impossible to ignore striking juxtapositions of shape and color
… bring the compositions to that admirable level of evocativeness
where formal relationships can be seen as metaphors of life, especially
the curious complex of contradictions and inconsistencies so much the
norm of our late 20th century experience”.
William Yaeger, The Times Union Dec. 1994
”Fintz means to create inner movements that are not merely pretty. By
creating an orderly pattern, Fintz can draw attention to disruptions in
that pattern. When you land off the beat or when you break or distort a
rhythm people take notice. Think of those repeating chords in
Beethoven’s Third or of the endless variations in bebop. We are all
drawn to surprise and conflict.”
Harold Gregor. Ph.D.
Distinguished Professor of Art Emeritus
Illinois State University
“In a rough categorical way, Jeanette’s paintings can be described in
pictorial terms as color-formed grids that try to incorporate
figurative elements within a delicately orchestrated, layered,
The problem is not a new one since it can be traced through Matisse
back to Cezanne, but the way Jeanette approaches it is fresh,
intelligent and thoroughly considered. Jeanette seems to sensitively
grasp the role imagery plays in the presentation.
As she proceeds to dissolve the grid, almost to the point where
it becomes an invisible armature, the color forces she employs are
required to more aggressively define the space. Coupled with the
intrusive strength introduced by largely invented discordant images,
the entire set of conflicting dynamics must simultaneously harmonize in
a supportive precisely contained fashion.
Although the final result, on occasion, might be described on first
reading as beautiful or perhaps lovely, the paintings are much tougher,
much more dimensionally and expressively interesting than that. They
appeal to ones senses in a purely visual way, as well as in a
meaningful ideographic way, to offer a profoundly expressive
opportunity to the viewer.”