There is a fine line between getting old and getting older, and Professor Emeritus Ben Jones has stood the test of time with his new retrospective show at NJCU’s galleries. As Jones would say, “Life is going to throw all kinds of things your way, but the bottom line is that you have to do the work.” And that is a virtue he has instilled in his mentees and one that he practices daily. This retrospective show reflects his prolific output over the years, although the retrospective only encapsulates a small percentage of his entire career’s catalog; the range of works shows the evolution of his practice.
In the show currently held at the Harold B. Lemmerman Gallery at NJCU, the spectrum of works spans from his first self-portrait from 1960 to his most recent works from 2022. Jones’ work addresses many pitiful issues that reflect the conditions of our times. Issues such as environmental concerns, social and political matters, identity, spirituality, and cultural heritage. When his work was mentioned as activism in an interview, Jones replied “I’ve been an activist all my life.” In a world where consumption is at an all-time high, Jones uses his voice in his works to remind us of the conditions we are in and the implications of our actions. Throughout his career, his works have been referenced and paid homage to the ones who came before him and those who have inspired him. His contemporary works feature many phrases and words, fragments of poetry, to illustrate his concern for our world and to spark thought in the audience. Jones has expressed that his goal is to lead the audience to a “holistic consciousness” by juxtaposing and relating images to explore their connections.
Jones’ works carry underlying messages that can be at times confrontational. In Trayvon Martin Wallpaper, 2016, he confronts the audience with an overwhelming painting of Trayvon Martin, a teen who was murdered in cold blood on his way home from the convenience store. In this piece, Jones repeats images of Trayvon Martin in a grid with alternating orientations. Over these images, he paints adinkra symbols that express his regard for the loss of Martin and presents the audience with words such as “Why” or “Hope.” In the foreground of the painting, lies a floor mat with the stripes of the United States wrapped in the colors of the Pan-African flag. In the center of the mat, is a question mark with flowers to the right and guns to the left. The audience is prompted
with a question, “Do you want love or war?” In the wake of the murder of Martin, the outrage was palpable across the nation. With many being hurt over the killing some felt the urge to spring into action for revenge. However, with the chair that lies in front of both the mat and the painting, Jones is asking the audience to join the conversation and to be more than a passerby to participate in the dialogue for peace and justice.
In one of his more recent works Connected, 2022, Jones explores the intersection between technology, nature, and spirit. Jones juxtaposes various images and symbolisms to explore the idea of interconnectedness, the understanding that the things in our world are relative to one another, and the connections that can be drawn from technology to nature and beyond what’s on Earth. The use of images contrasts against the painting which invites the audience to think about the creations of man versus the creations of machines. He incorporates images such as cell phones and circuit boards as evidence of our current times but relates it to the life that has existed before us such as the fishes and plants with the painted elements.

Through his works, he emphasizes the importance of being worldly, in terms of being well-versed in not just one place but the entire world. His frequent travels to Cuba and other places throughout the world have granted him the perspective of a global citizen which is displayed in his works. Jones often emphasizes the importance of community and as a result, has become a bridge for many cultures and people to come together. Jones sees no barriers among people and is willing to share his knowledge and wisdom with anyone.
Although he retired in 2010, Jones is still a prominent member of the NJCU community and still has an impact on students and faculty. As mentioned before, the work never stops. Jones is prolific within his field and an outstanding educator who has mentored many students who went on to have professional art careers of their own. Alongside The Universe of Ben Jones exhibition at Lemmerman Gallery, the Visual Arts Gallery is currently holding the Constellations exhibition which includes many of his students who he taught at NJCU. Although Jones no longer teaches the educator in him has never left. He has been and continues to be a leading figure in the arts within this community and throughout the world. As Jones continues to create works today his artistic output is something that all artists can appreciate and admire. And when everything is all said and done, we can all say we were witness to Ben Jones’ greatness.