Picture shows the gallery, including four of Jaynes’s seven installations on view. In the center foreground is Jaynes’s Gift#1 on display on a flat, horizontally-angled rectangular table with a dark wood base. A white and brown paper owl rests on a cylindrical stand to the left of a large open book under a rectangular, clear acrylic hood. To the right of the display with the owl stands Jayne’s Gift #5, a map representation of the travels the 19th–century blind surveyor John Metcalf. It is a vertically-positioned, large rectangular table composed of a a linen top and a light brown wood base. A multi-color grid, outlines of geometric shapes, and green porcelain geometric shapes adorn the linen top. In the center background, on the back wall painted off-white, is Jayne’s Gift #4, a visual transmutation after the musical work of blind African American musician Thomas Wiggins. It is three horizontal and three vertical rows of prints in a geometric interplay of greens, browns and yellows. To the right of the prints on the wall is a small wooden frame in which brass musical notes are displayed. To the far right background is a view of Jaynes’s Gift #6, the scent mechanism the olfactometer, in a niche in an off-white curved wall. The floor of the room is covered with a tan colored carpet. [end of description]

Common Touch: Coda

Picture shows the majority of the gallery, including four of Jaynes’s seven installations on view. In the center foreground is Jaynes’s Gift#1 on display on a flat, horizantally-angled rectangular table with a dark wood base. A white and brown paper maiche owl rests on a cylindrical stand to the left of a large open book under a rectangular, clear acrylic hood. To the right of the display with the owl stands Jayne’s Gift #5, a map represention of the travels of the 19th–century blind surveyor John Metcalf. It is a vertically-positioned, large rectangular table composed of a a padded linen top and a light brown wood base. A multi-color grid, outlines of geometric shapes, and green porcelain geometric forms adorn the linen top. To the left of the owl display is a partial view of a case of historical materials. In the left backround is Jayne’s Gift #3 inspired by the mathematical tools of the blind mathematician Nicholas Saunderson. It is a light brown table on which several large-sized wooden geometric shapes of different styles rest. In the center background, on the back wall painted off-white, is Jayne’s Gift #4, a visual transmutation after the musical work of blind African Amerian musician Thomas Wiggins. It is three horizontal and three vertical rows of prints in a geometric interplay of greens, browns and yellows. To the right of the prints on the wall is a small wooden frame in which brass musical notes are displayed. To the far right background is a partial view of an off-white curved wall. The floor of the room is covered with a tan colored carpet.

Common Touch Now on Display

A Vision Council

Picture shows a pencil sketch titled “Front View” on an 8 1/2 x 11 in. piece of white paper with faint, vertical ruled black lines. In the center of the page is a tall, vertical rectangle. A measurement line labeled “20 [in.]” runs horizontally along the inside bottom edge of the rectangle. A long measurement line runs vertically along the right side of the rectangle. The line is divided into four segments and labeled, in the right, from bottom to top: “28 [in.]”; “30 [in.]”; “5 [in.]”; “20 [in.].” The rectangle is divided into four segments. The segments are labeled, in the left, from bottom to top: “Olfactometer”; “Hood”; “Fan”; “Vent.” A two-dimensional view of a table cuts across the lower one-third of the rectangle. A measurement line labeled “6’” runs horizontally below the illustration. A measurement line labeled “7’” runs vertically to the right of the illustration. [End of description]

One Year In

Picture shows view of a panel of people from the perspective of an audience member. Three women and a man sit at a table covered with a black fitted tablecloth. A paper coffee cup with lid, metal water pitcher, a pile of lanyards, and a water bottle are on the table in front of the panelists. Two screens, including one with closed captioned text, and a podium pushed against the wall are visible. In the foreground, audience members, including a female wheelchair user, are seated. The room contains beige paneled walls and patterned carpeting.

My First SDS Conference

Artist-in-residence Teresa Jaynes researching in the Print Department, January 2015.

The First Six Months