Jenny Wantuch

Jenny Wantuch’s harmony in hues: exploring the landscape through perception, imagination and memory

Spending time with one of Jenny Wantuch’s vivid landscapes can feel like passing through a portal into a dreamy, color-suffused world: a place where we often seem to be hovering at the edge between day and night, at sunrise or sunset. The soft hues with which Wantuch describes gently-curving hills, pristine forests or cloud dotted skies complement each other—maize yellows and dusty violets; intense blue-greens and hot magenta pinks; deep blues and glowing shades of orange. It’s a place we long to visit, and the road that she often incorporates into her compositions, winding away into the distance, invites us to continue traveling deep into these scenes in our imagination.

Though it has taken some detours, Wantuch’s own artistic journey began in her childhood. Born and raised in Sweden, she spent every summer on her grandparents’ farm, deep in the countryside. Both her artistic creativity and her love of nature were encouraged by her family when she was growing up, but Wantuch is the first in her family to finish a college degree. Knowing that she had to support herself after high school, she chose a career in environmental science instead of the arts. After a decade of working in that field, she came to the US for a job in a biotech firm in the Bay Area. In 2004, on the brink of beginning a graduate degree in environmental science, she decided instead to follow her childhood dream and become a painter. By 2007, she was exhibiting her work.

Wantuch has experimented with both the figure and abstraction, taking a range of fine arts courses at the College of San Mateo, the Academy of Art and Cañada College (where she completed an AA Degree in Multimedia Art in 2013). Since she began working as a professional artist, her love of the natural world has provided the primary focus for her work.

Landscape, once less popular than subjects like portraiture or still life, became increasingly important in the 19th century. At that time, the manufacture of paint in tubes made it possible for artists to begin working out-of-doors (a practice known as plein air), capturing the essence of a place on canvas or paper in real time. The natural (or built) world has continued to be a central subject for many artists, even as, over and over, art itself has moved towards abstraction and then away from it again. American twentieth century painters who focused on one aspect or another of this continent’s scenery include Wolf Kahn, who Wantuch was fortunate to meet in person a year before he died, Georgia O’Keefe and Charles Burchfield, each in a highly distinctive way. Wantuch herself cites the Canadian Group of Seven and Swedish landscape painter Helmer Osslund as influential on her practice. Canada’s first major national art movement, the Group of Seven were known for distinctive depictions of the North that were developed through direct observation of the country’s rugged mountains.

Today, many contemporary British artists have taken the green English countryside as their subject. Perhaps foremost among them is David Hockney, whose colorful renditions of the rolling hills and wandering roads of his beloved Yorkshire offer viewers an entry point for understanding Wantuch’s approach. After many years of working primarily from nature, she now draws her inspiration from several sources. Often, an idea about color or a particular combination of colors serve as a point of departure, aided by a small plein air canvas (sometimes painted years before) or perhaps a photograph. Recently, the idea for one painting came from a dream or a memory of a special place. Forest bathing II (2023) is based on both a smaller oil painting from 2016 titled Klamath River and a photo she took. Together, these provided the frame of the overall composition. What draws viewers in, however, is the startling, almost magnetic counterpoint of brushstrokes of vivid green and hot pink that indicate the play of light and shadow among the trees.

Wantuch acknowledges that the term ‘forest bathing’ may have originated with the Japanese, to describe the benefits of spending time in nature, but the practice has become so popular in Sweden that there is now an official Swedish word for it: skogsbad* . Recalling her upbringing, she describes Swedes as a secular people for whom being in nature can be a spiritual practice. Wantuch spends every summer in Sweden, part of it “bathing” in the forests and painting en plein air.

Each of her canvases starts with an underpainting in acrylics. Wantuch blocks out the scene in warm hues—pinks, magentas and oranges—before she begins with oils, gradually building multiple layers (she starts with only a few colors squeezed out on her palette, preferring to mix her own unique combinations). Some traces of the bright underpainting are still visible in the completed pictures, however, and she describes the final stages of each work as involving a lot of long pauses, as she decides what to cover and what must remain visible from the initial underpainting as part of the composition.

Overall, a sense of calm, restraint, and meditative contemplation suffuses many paintings. In Wanaka Valley (2023), fragments of orange on the distant blue slope draw our eyes towards the horizon, but other snippets of the warm hue can be seen throughout the picture: along the curving road, or at the edge of the steep flank of a hillside, for instance. The hills in this painting evoke the landscape of northern California, but the sketch with which Wantuch began was made during a landscape painting trip she took to New Zealand in 2015. She feels that it isn’t necessary for viewers to know where her inspiration comes from—whether it’s a specific place, a dream, or an idea. Her work benefits from being seen in person, up close; what is not visible in reproductions is the texture of each brushstroke or their lively play across the surface.

Living in northern California, Wantuch misses the change in seasons familiar from the first part of her life in a northern country: the beautiful sweeps of orange and red foliage in the fall or the white of winter. Still, she has come to believe that the way she paints– combining calm, meditative scenes with brilliant color– has been influenced by both the unique light of the Bay Area and by some of the artists who have made this area their home. She looks forward to further explorations of landscapes near and far.

Maria Porges
2023
Independent Art Writer

 

*  A recent case study conducted at medical university Karolinska Institutet in Stockholm indicates that time spent outdoors has significant health benefits. After just 72 hours in nature, participants’ stress levels decreased by 70 percent, while their blood pressure and heart rate dropped. Their sense of wellbeing and creativity, in contrast, surged.” www.visitsweden.com/what-to-do/nature-outdoors/forest-bathing/

The landscape paintings of Jenny ML Wantuch are quiet evocations of place that derive from Impressionism, Fauvism and Abstract Expressionism. Her work continues the Bay Area Figurative tradition, which synthesized traditional subject matter—figures, landscapes, still life’ —with painterly impulse and improvisation. In addition, her paintings lack of the self-conscious irony that characterizes so much contemporary art; possibly the isolation imposed on us by the pandemic will lead to a new appreciation for seriousness and sincerity, too long out of fashion for some.

Wantuch grew up in rural Sweden, and worked in California as an environmental engineer before deciding to pursue her longtime love of art. She has thus has a deep appreciation of nature. She takes hikes and paints both small works on panel on location, and larger works, later, in the studio. The twenty-two paintings that comprise “Sound of Water” (named after the largest work in the show) depict northern California, primarily, with the exception of a pair of casein paintings—in the tall, vertical format of Japanese scroll paintings—depicting Monet’s Garden at Giverny, the result of a 2019 pilgrimage to that living shrine after Wantuch saw the San Francisco retrospective of the Impressionist’s work at the de Young Museum. The vertical format, a departure from Monet’s panoramic “Water Lilies,” was a compositional challenge to which she rose. The two paintings, which can be appreciated either together, as a diptych, or as separate works, depict a waterscape of lily pads, willow leaves, rushes, and a reflected blue sky dappled by clouds: the floating natural paradise.

Wantuch employs the Asian scroll format on her oil-on-panel and casein-on-clayboard depictions of scenes closer to home, as well. Pond Reflections another double painting, is similar in its motifs, but more spatially complex, with its overlapping foliage; and more visually dynamic, with its profusion of verdure. The single paintings, Pine Tree and Weeping Willow   and Red Blooms  depict slices of nature, usually so unruly, transformed by an organizing intelligence. Nocturnal with its single white flower glowing in the dusk, points up Wantuch’s increasing interest in the psychological or symbolic aspect of the landscape, sometimes empty, and sometimes populated by figures imported from life-drawing sessions, a separate body of work until now.

The self-enforced isolation imposed on everyone nowadays has affected Wantuch’s practice. The colorful evocations of the natural landscape in daylight that she is known for are represented here by two Lake Tahoe paintings, as well as Silver Sage (Tahoe) and Trinity River.  But these cheering views of the unspoiled natural world are joined by more introspective works, infused with the concerns of the moment: sunny Impressionism darkening slightly into crepuscular or nocturnal Symbolism, perhaps.

Wantuch has always been interested in capturing the emotion of a posing model, or at least the implicit emotion; now she employs the observational skills of an artist and a scientist to reflect the cultural, historical and environmental moment. In an e-mail, she wrote: “Munch is one of my favorite painters. His authenticity and the difficult emotions that he expressed so well inspire me to be more open, honest and bold. … [T]here is a melancholy that I empathize with and I think part of it comes from growing up in Sweden (or Norway, in Munch’s case); long, dark winters do that to you.”

If Wantuch’s humanized nature imagery is not quite Edvard Munch’s anguished scream passing throughout Nature, the inward mood of some recent paintings seems to agree with our current feelings of uncertainty. Last Light Trinity River depicts the “final fleeting moment” before a “small sliver of light” is swallowed up by encroaching night. The golden ripple on the water in the eponymic Sound of Water might similarly denote the transience of the world as we know it—and even of our exceptional, American selves; while the framed or wreath-circled void in Weeping Willow rearranges the motifs of the Monet-inspired diptychs to suggest baroque gilded frames delineating a void: emptiness or potentiality? Wantuch notes that she was thinking of Zen Buddhism’s “balance of dark and light, yin and yang. I think it is a kind of escape or rest.”

The longing for a return to normalcy appears in several paintings of figures in the landscape, which, a motif in the existentially inflected Bay Area Figuration of Diebenkorn, Oliveira, Park and Bischoff. Solstice Dream inspired by the artist’s memories of enjoying long summer days above the Arctic Circle, depicts a long-haired nude, almost an allegorical emanation of the sunny meadow in which she luxuriates. A Moment in the Sun depicts another nude in nature, caught between, “lethargy and lonely emptiness” and “longing for freedom and connection.”

An art-historical anecdote comes to mind. Georges Rouault and Henri Matisse, his onetime student, were once asked if artists required an audience. Rouault, the religious expressionist, said he would do what he was doing out of internal necessity, or compulsion, even in nobody ever saw his work. Matisse, the creator of pictorial beauty—of restful, refreshing armchairs for tired businessmen—said an artist must be able to share his vision. Wantuch’s landscapes share both Rouault’s determined work ethic and Matisse’s generous grace.
– DeWitt Cheng July 13, 2020

During her childhood in Sweden, Jenny spent her summers at the family farm where she learned to be creative. In 2004, Jenny decided to become a full time artist and commit to her childhood dream.

EXHIBITIONS

MUSEUM EXHIBITIONS
2022 Spring Into Art, The Huntington, San Marino, California (juried exhibiton)
2020-2021 Water (Nordic5 Arts), Vesterheim Museum, Decorah, Iowa
2014 Statewide Photography Exhibition/Competition, Triton Museum of Art, Santa Clara, California
(Juror: Preston Metcalf, Chief Curator, Triton Museum of Art)

SOLO EXHIBITIONS
2023 Harmony in Hues: Exploring The Landscape Through Perception, Imagination and Memory, Cañada College Art Gallery, Redwood City, California (catalogue)
2022 Sutro Baths and Ocean Views, Avenue 12 Gallery, San Francisco, California
2021 Pond Reflections, Invision, San Francisco, California
2020 Sound of Water, Avenue 12 Gallery, San Francisco, California
2019 Water Stories, Throckmorton Theatre, Mill Valley, California
2019 Paintings by Jenny Wantuch, Cafe Borrone, Menlo Park, California
2019 Pond Reflections, San Francisco Zen Center, San Francisco, California
2013 Ice Flowers, ArtTerra, San Francisco, California
2009-2010 Spelrum-Leeway- Non-Objective Art On a Theme of Free Play, Nectar, San Francisco
2009-2010 Ljuskälla- Swedish Landscapes On a Theme of Fall, Nectar, Burlingame, California
2009-2010 Ljuskälla- Swedish Landscapes & Still Lifes, Glasbrukets Galleri & Cafe, Stockholm, Sweden

TWO AND THREE PERSON EXHIBITIONS
2022 Intersection: Three Bay Area Views Bruce Katz, Claire Lau and Jenny Wantuch, Inclusions Gallery, San Francisco, C
2018 Landscape Paintings by Victoria Veedell & Jenny Wantuch, Grey City Gallery & Ashcroft Studio, San Francisco, CA
2014 Jenny M.L. Wantuch & Minai Jeswani, Community Gallery, Hall of Justice, Redwood City, California

GROUP EXHIBITIONS

2024 Delicious, STUDIO Gallery, San Francisco, CA
2024 Water’s Edge: Reflections, Hunters Point Shipyard Gallery, San Francisco, CA
2024 Women Rising, The Drawing Room ANNEX, San Francisco, CA
2024 Echoes of Building 123: Artists’ Tribute, Hunters Point Shipyard Gallery, San Francisco, CA
2024 HOME, The Drawing Room, San Francisco, CA
2023 Saturnalia, Studio Fourth Street, San Rafael, CA
2023 Tiny, STUDIO Gallery, San Francisco, CA
2023 PLEIN-AIR+, an.ä.log SF Gallery, San Francisco, CA
2023 City Streets, STUDIO Gallery, San Francisco, CA
2023 Postcards from Paradise, Voss Gallery, San Francisco, CA
2023 Terrain, STUDIO Gallery, San Francisco, CA
2023 Shapeshifters: Myth & Magic of the North, Nordic 5 Arts at Think Round Fine Arts, San Francisco, CA
2023 SKY, The Drawing Room, San Francisco, CA
2023 California Coast, Avenue 12 Gallery, San Francisco, CA
2022 Retrospective 15, Inclusions Gallery, San Francisco, CA
2022 SEA, The Drawing Room, San Francisco, CA
2022 Tiny, STUDIO Gallery, San Francisco, CA
2022 Bay Area Landscapes, Avenue 12 Gallery, San Francisco, CA
2022 Art Launch, SOMArts Cultural Center, San Francisco, CA
2022 Five for Fall, 307 Cortland Ave, San Francisco, CA
2022 SquaredAlumni, Arc Gallery, San Francisco, CA
2022 City Streets, STUDIO Gallery, San Francisco, CA
2022 Terrain-Views of California, STUDIO Gallery, San Francisco, CA
2022 Women Rising, The Drawing Room, San Francisco, CA
2022 Intersection: Three Bay Area Views, Inclusions Gallery, San Francisco, CA
2021 Winter Group Show, Avenue 12 Gallery, San Francisco, CA
2021 Tiny, STUDIO Gallery, San Francisco, CA
2021 FourSquared, Arc Gallery, San Francisco, CA
2021 Six Artists, Live Worms Gallery, San Francisco, CA
2020 Picture Windows, Live Worms Gallery, San Francisco, CA
2020 Virtual Windows, Avenue 12 Gallery, San Francisco, CA
2020 Women Rising, The Drawing Room Annex, San Francisco, CA
2020 Women’s View, Caldwell Gallery, Redwood City, CA
2020 Where the Journey Takes Us, Featuring Composition 4, Gualala Arts Center, Gualala, CA
2020 20-20 Vision, Far Out Gallery, San Francisco, CA
2019 Tiny, STUDIO Gallery, San Francisco, CA
2019 Nordic Light, Think Round Gallery, San Francisco, CA
2019 48 Pillars, Arc Gallery, San Francisco, CA
2019 Movers & Shakers, The Drawing Room, San Francisco, CA
2019 Annual Members Exhibition, Pacific Art League, Palo Alto, CA
2018 Holiday Small Works Show, Art and Heart Gallery, Spring Lake, New Jersey
2018 Tiny, STUDIO Gallery, San Francisco, CA
2018 97th Anniversary Exhibition, Pacific Art League, Palo Alto, California
2018 Illuminate, Heron Arts, San Francisco, California
2018 Nordic Voyage: A Sense of Place, Harrington Gallery, Firehouse Art Center, Pleasanton, California
2018 The Color Red, Jingletown Studios, Oakland, California
2018 SNAP, Arc Gallery & Studios, San Francisco, California
2017 Retrospective 10, Inclusions Gallery, San Francisco, California
2017 Runes Revealed, Adobe Art Center, Castro Valley, California
2017 SF Fall Open Studios, Hunters Point Shipyards, San Francisco, CA
2017 Open Air, Sanchez Art Center, Pacifica, CA
2017 By the Bay…Our San Francisco, Back to the Picture, San Francisco, CA
2017 Vistas: Urban & Rural, Inclusions Gallery, San Francisco, CA
2017 Colors of the Mission, StarCity, San Francisco, CA curated by Artlyowl
2017 Spring Open Studios, Hunters Point Shipyards Studios, San Francisco, California
2017 Local Terrain, San Ramon Valley Conference Center, SLATE art consulting, Oakland, CA
2016 Holiday Show, Hunters Point Shipyard Studios, San Francisco, CA
2016 Insights & Reflections, Open Studio Hub, Laughing Monk Brewery, San Francisco
2016 Runes Revealed, Scandinavian Cultural Center, Pacific Lutheran University, Tacoma, WA (catalogue)
2016 Spring Open Studios, Hunters Point Shipyards, San Francisco
2015 SF Fall Open Studios, Hunters Point Shipyards, San Francisco
2015 Runes Revealed, San Pablo Art Gallery, San Pablo, California (catalogue)
2015 Spring Open Studios, Invited Guest Artist at Claremont Studios, San Mateo, California
2015 Spring Open Studios, Hunters Point Shipyard Artists, San Francisco
2015 SF Fall Open Studios, Hunters Point Shipyards, San Francisco
2014 Runes Revealed, Nordic 5 Arts’ Group Show, Sanchez Art Center, Pacifica, CA (catalogue)
2014 Spring Open Studios, Hunters Point Shipyard Artists, San Francisco
2014 Women’s View, Caldwell Gallery, Redwood City, California
2013 SF Fall Open Studios, Misho Gallery, San Francisco
2013 Forward, Misho Gallery, San Francisco
2013 Spring Into Art-Spring Open Studios, Hunters Point Shipyards, San Francisco
2012 SF Fall Open Studios, SOMA Artists Studios, San Francisco, California
2012 SOMA Spring Open Studios, SOMA Artists Studios, San Francisco
2011 Three Artists Show, Piersons Modern, San Mateo, California
2011 SF Fall Open Studis, SOMA Artists Studios, San Francisco, California
2011 Terrain-Views of California, Studio Gallery, San Francisco
2011 SOMA Spring Open Studios, SOMA Artists Studios, San Francisco
2010 SF Fall Open Studios, Jellyfish Gallery, San Francisco, California
2010 SF Fall Open Studios, SOMA Artists Studios, San Francisco, California
2010 SOMA Spring Open Studios, SOMA Artists Studios, San Francisco,
2007 Mission Open Studios, Art Explosion Studios, San Francisco, California

JURIED EXHIBITIONS
2023 Artspan Juried Benefit Art Auction, 111 Minna Gallery, San Francisco, CA (jurors: Griff Williams, Roberto Martinez, Stephen Gilbert, Michelle Delaney, DeeDee Hunt, KT Seibot and Renee Villasenor)
2020 Beyond 20/20, Pacific Art League, Palo Alto, CA (Jurors: Chun-Hui Yu and Ric Ambrose)
2019 Along the Ohlone Portola Trail, Sanchez Art Center, Pacifica, CA (juror: Denny Holland)
2018 50|50, Sanchez Art Center, Pacifica, CA (juror: Andres Guerrero)
2018 Bay Area Masters, San Mateo County Fairgrounts/Fine Arts Galleria, San Mateo, CA (juror: Andra Norris and Janet Martin)
2018 Dream, Arc Gallery & Studios, San Francisco, CA (juror: James Bacchi) (catalogue)
2018 Abstraction, Pacific Art League, Palo Alto, California (juror: Michael Azgour)
2018 Road Maps, Annual Juried Show, Gallery Route One, Point Reyes Station, CA (juror: DeWitt Cheng)
2017 Beginnings, Annual Juried Show, Gallery Route One, Point Reyes, CA (juror: Chester Arnold, Artist)
2011 Somania, Arc Studios & Gallery, San Francisco, California
2011 San Francisco & Golden Gate Bridge, San Francisco Travel (previously SFCVB)
2011 26th Annual Juried Show, Gallery Route One, Point Reyes, California (Juror: Rene de Guzman, Senior Curator, Oakland Museum, Oakland CA)

GROUP EXHIBITIONS

BENEFIT AUCTIONS
2024 Dart for Art, LymeLight Foundation, San Mateo Event Center, San Mateo, California
2024 Auction for the SF Marin Food Bank, STUDIO Gallery, San Francisco, California
2023 Dart for Art, LymeLight Foundation, San Mateo Event Center, San Mateo, California
2023 Auction for the SF Marin Food Bank, STUDIO Gallery, San Francisco, California
2022 Wall2Wall, Sonoma Valley Museum of Art, California
2022 A Special Exhibition to Aid Ukraine, Hunters Point Shipyards, San Francisco, California
2022 Yes, Art, Artspan, San Francisco, California
2022 Dart for Art, Burlingame Pop-up Gallery, California
2022 Auction for the SF Marin Food Bank, STUDIO Gallery, San Francisco, California
2021 Dart for Art, Burlingame Pop-up Gallery, California2020 Dart for Art, San Mateo Event Center, San Mateo, California
2019 Art Auction to Benefit the Artists #4, Incline Gallery, San Francisco, California
2019 Allowance for Form, Guerrero Gallery, San Francisco, California
2019 ArtSpan Benefit Art Auction , SOMArts, San Francisco, California
2019 Dart for Art, San Mateo Event Center, San Mateo, California
2018 Art for AIDS, City View at Metreon, San Francisco, California (juried show)
2018 ArtSpan Benefit Art Auction , SOMArts, San Francisco, California
2018 Dart for Art, San Mateo Event Center, San Mateo, California
2017 Art for Aids, City View at Metreon, San Francisco, California (Juried Show)
2017 Dart for Art, San Mateo Event Center, San Mateo, California
2017 Artspan’s Art Bridge Benefit Auction, Juried Show, SOMArts Cultural Center, San Francisco, CA
2010 Pazapa Art Auction, Braunstein/Quay Gallery, San Francisco, California
2010 Artspan’s Annual Benefit Art Show & Auction, Juried Show, San Francisco, CA

EDUCATION
2013 Certificate, Multimedia Art & Technology, Cañada College, Redwood City, CA
2010 UC Berkeley Extension, Berkeley, CA (Art Therapy course)
2010 Jim Wilcox, Jackson Hole, WY (Landscape painting workshop)
2009 Academy of Art University, San Francisco, CA (Figure drawing, and still life oil painting courses)
2009 Atelier Stockholm, The Swedish Academy of Realist Art, Stockholm, Sweden (Figure drawing courses)
2009 Noah Buchanan, Santa Cruz, CA (Oil painting private lessons)
2008—2010 Bay Area Classical Artist Atelier, BACAA, Belmont, CA (Figure drawing and painting courses with Ted Seth Jacobs and Jon deMartin)
2005 San Francisco Center for the Book, San Francisco, CA (Bookbinding courses)
2004—2008 College of San Mateo, CA (Art history, color theory, mixed media, drawing, figure drawing, water color and oil painting courses)
1996 Bachelor of Science, Chemistry, Uppsala University, Sweden

 

TEACHING AND PROFESSIONAL ACTIVITIES
2019 Exhibition Committee Member Nordic 5 Arts, San Francisco, CA
2018 Registrar for the Spring Open Studio Committee at Hunters Point Shipyard Studios, San Francisco, CA
2017 Group Coordinator for the exhibition “Open Air” at Sanchez Art Center, Pacifica, CA
2013-2018 Organizer and Founder, Burlingame Plein Air Painters, Burlingame, California,
2015-2016 Private lessons in Landscape Painting
2013-2015 Graphic Designer, Freelance

AWARDS
2020 Artist Award and prize winner for Women’s View, Caldwell Gallery, Redwood City, CA (judge Rory Padeken, curator at San
Jose Museum of Art)
2016 SFOS Artist Not to Miss, Top ten picks by the Jury for San Francisco Open Studio Exhibition 2016
2013 Award for poster design, Arts & Olive Festival, Redwood City, California
2012 Winner of poster competition, Redwood Symphony’s Fall Concert, Redwood City, California

BIBLIOGRAPHY
DeWitt Cheng, “Sound of Water”, Jenny Wantuch’s Recent Landscapes at Avenue 12
Gallery, San Francisco, July 13, 2020. Online https://artopticon.us/sound-of-water-jennywantuchs-
recent-landscapes-at-avenue-12-gallery-san-francisco
DeWitt Cheng, “Jenny Wantuch: “Water Stories” in Throckmorton Theatre, Mill Valley,
to January 4, 2020, online https://artopticon.us/jenny-wantuch-water-stories-inthrockmorton-
theatre-mill-valley-to-january-4-2020
“Talk of the Town”, Daily Post, March 13, 2018
“SFOS Exhibition Juror Awards and Top Ten Picks”, Artspan.org, October 2016,
https://www.artspan.org/sfos-exhibition-0
Bonny Zanardi, “Caldwell presents two visions of still life paintings”, The Mercury
News, November 6, 2014, print and online
http://www.mercurynews.com/2014/11/06/bonny-zanardi-caldwell-presents-two-visionsof-
still-life-paintings/
Susan Cohn, “Still Lifes: Two Visions in Redwood City”, The Daily Journal, October 24,
2014, print and online. http://www.smdailyjournal.com/articles/arts/2014-10-24/museumgotta-
see-um/1776425132122.html
Marc Ellen Hamel, “Runes Revealed”, Catalogue for Nordic 5 Arts Runes Revealed
Exhibit, 2014
Melissa D. Johnston, “The Reader-Visual Storytelling” (Blog “Creative Thresholds”),
May 30, 2013
https://creativethresholds.com/?s=jenny+wantuch&submit.x=3&submit.y=9
Lyme Light Foundation, “Dart for Art 2015”, Catalogue for Dart for Art Exhibition 2015
https://lymelightfoundation.org/wp-content/uploads/2015/05/2015-DFA-Catalog.pdf
Helene Sobol, “Welcome to our new member”, Nordic 5 arts News brief, Spring 2014
http://www.nordic5arts.com/pages/documents/NEWSBRIEF_SPRING-2014.pdf
Lorna Watt, “Jenny Wantuch at Claremont Art Studios”, exhibition announcement with
photo, Claremont Art Studios, San Mateo, CA, April 23, 2015, http://wp.me/p4Co5O-3z

PUBLICATIONS AS AUTHOR
“Art at the Dump-Recology San Francisco”, Artbusiness.com, September 21, 2012
http://www.artbusiness.com/1open/092112a.html
“Fishing and Painting in New Zealand”, Nordic 5 Arts Newsbrief, Spring 2015
http://www.nordic5arts.com/pages/documents/NEWSBRIEF_SPRING-2015.pdf
Columnist, Cirkulation, Sweden, 2001

MEMBERSHIP
2018 NCWCA, San Francisco, California
2018 Pacific Art League, Palo Alto, California
2014 Nordic 5 Arts, San Francisco Bay Area, California
2010 ArtSpan, San Francisco, California