R. C. Baker

October 22, 2025

R.C. Baker Zapruder Rising, 2018 Four aluminum printing plates, emulsion, ink, solvent 35 x 22.75 inches, each — R.C. Baker
*Zapruder Rising*, 2018
Four aluminum printing plates, emulsion, ink, solvent
35 x 22.75 inches, each

R.C. Baker Zapruder Rising (Cyan), 2018 Four aluminum printing plates, emulsion, ink, solvent 35 x 22.75 inches — R.C. Baker
*Zapruder Rising (Cyan)*, 2018
Four aluminum printing plates, emulsion, ink, solvent
35 x 22.75 inches

R.C. Baker Zapruder Rising (Magenta), 2018 Four aluminum printing plates, emulsion, ink, solvent 35 x 22.75 inches — R.C. Baker
*Zapruder Rising (Magenta)*, 2018
Four aluminum printing plates, emulsion, ink, solvent
35 x 22.75 inches

R.C. Baker Zapruder Rising (Yellow), 2018 Four aluminum printing plates, emulsion, ink, solvent 35 x 22.75 inches — R.C. Baker
*Zapruder Rising (Yellow)*, 2018
Four aluminum printing plates, emulsion, ink, solvent
35 x 22.75 inches

R.C. Baker Zapruder Rising (Black), 2018 Four aluminum printing plates, emulsion, ink, solvent 35 x 22.75 inches — R.C. Baker
*Zapruder Rising (Black)*, 2018
Four aluminum printing plates, emulsion, ink, solvent
35 x 22.75 inches

R.C. Baker Jornada del Muerto +250,000 years, 2008 A Monoprint 23 x 24 inches, 32 x 43 inches, framed — R.C. Baker
*Jornada del Muerto +250,000 years*, 2008
A Monoprint
23 x 24 inches, 32 x 43 inches, framed

WE ARE THE LAND

R. C. Baker

Traced and Plated

November 1 – December 30, 2025

NEWYORK@BAAHNG.COM

WATCH THE VIDEOS

“Traced and Plated,” part of a curatorial initiative by JENNIFER BAAHNG titled “WE ARE THE LAND,” showcases the repurposing and transformation of discarded remnants of mass media, providing a compelling reflection on how human actions leave imprints and scars on the land we occupy. R.C. Baker’s newspaper monoprints and printing plate works affirm the enduring vitality of painting by integrating new materials, repurposing physical printing media, and challenging the landscape genre within contemporary art.

Baker’s “Jornada Del Muerto” monoprints were begun in the early 2000s, when high-speed newspaper presses were being cleaned with solvent sprays by pressmen anxious to start a new press run. As the press cylinders slowed, the solvents spread. When they mixed with the remaining inks, the articles, graphics, and halftone photos that were originally being printed for the Village Voice Literary Supplement were transformed into bulbous blurs of irradiated color, creating serendipitous abstractions on the last few pages as the huge presses ground to a halt.

Baker transferred these sheets to his studio, and in 2008 completed them by adding titles — Jornada del Muerto +250,000 Years and Jornada del Muerto +400,000 Years — that arose from his research into atomic bomb tests and nuclear waste repositories in the deserts of the American Southwest. These titles (English translation, “Journey of the Dead Man”) refer to a desolate yet majestically bleak desert landscape in New Mexico.

A decade later, Baker printed a tabloid newspaper, “President: ‘Why?’”, which served as a catalog for a 2018 exhibition, and realized he could create a conceptual loop by reproducing in it one of the “Jornada” abstractions. For those two pages in the tabloid he added magenta to emphasize the long-term irradiation of the desert, caused by the half-lives of nuclear elements in fallout from weapons testing and in the radioactive waste being stored in vast subterranean chambers in the Southwest. The four printing plates that had been utilized to print the tabloid’s “Jornada del Muerto +250,000 Years” spread — covered with inks and solvents in uncontrolled and unpredictable manners — became ready-made artworks, despite the pressmen viewing them as suitable only for recycling the aluminum substrates. These two pages were complemented by another set featuring images such as an existential quote from President Nixon—“Why?”—and a frame from Abraham Zapruder’s 8mm film of the JFK assassination. The vibrant, lava-lamp-like blobs of color evoked a title combining tragedy and elegance: “Zapruder Rising,” a collection of four plate paintings.

“Traced and Plated” affirms that the material history of our media is deeply connected with the ecological future of the earth. Our industrial endeavors have left enduring marks of control, extraction, and waste on the land. By presenting a novel and compelling visual framework in contemporary art, where material and aesthetic intent converge into a unified art form, the exhibition extends beyond a historical perspective. It contextualizes present ecological challenges, including severe land and water contamination and the significant impacts of climate change, and elucidates the intrinsic link between media cycles, materials, and ecological realities in a new genre of landscape paintings. “WE ARE THE LAND: Traced and Plated” emphasizes the abstract beauty and residual history embedded within the artwork, encouraging reflection on the land we inhabit, as both chroniclers and bearers of scars.

ARTIST

R. C. Baker

Categories: exhibitions

Tags: RC Baker

Janet Taylor Pickett

October 4, 2025

Janet Taylor Pickett Fly Away, 1993 Fabric construction with cowrie shells, beads, buttons, copper, silver charms, lockets, stuffed birds, on cotton, felt 76 x 57 inches Signed, dated, and inscribed by the artist — Janet Taylor Pickett
*Fly Away*, 1993
Fabric construction with cowrie shells, beads, buttons, copper, silver charms, lockets, stuffed birds, on cotton, felt
76 x 57 inches
Signed, dated, and inscribed by the artist

Janet Taylor Pickett Fly Away Home, 1993 Fabric construction with silver charms on cotton, felt 45 x 33 inches Signed, dated, and inscribed by the artist — Janet Taylor Pickett
*Fly Away Home*, 1993
Fabric construction with silver charms on cotton, felt
45 x 33 inches
Signed, dated, and inscribed by the artist

Janet Taylor Pickett Healing Shirt, 2007 Fabric construction with cowrie shells, copper, silver charms, clothespins, rubber-stamped talisman on cotton, felt 48 x 55 inches Signed, dated, and inscribed by the artist — Janet Taylor Pickett
*Healing Shirt*, 2007
Fabric construction with cowrie shells, copper, silver charms, clothespins, rubber-stamped talisman on cotton, felt
48 x 55 inches
Signed, dated, and inscribed by the artist

Janet Taylor Pickett

CONJURE

October 13 – November 30, 2025

NEWYORK@BAAHNG.COM

WATCH THE VIDEOS

Janet Taylor Pickett’s fabric constructions commenced in the early 1990s, featuring imagery that was deeply personal yet accessible. Her work investigated themes related to ecology, motherhood, and transcendence. A profound sense of loss prompted her to reconsider what truly matters in a well-lived life. An aphorism reinforced her conviction in navigating adversity to discover what is life-affirming. These works resonate as familiar and inviting, illustrating connections that evoke the past and paving the way with new materials and directions. CONJURE provides a succinct overview of Taylor Pickett’s fabric constructions from 1993 to 2022.

Memory serves as a living metaphor in Taylor Pickett’s art. In 1991, she took part in a workshop at the Vermont Studio Center with the renowned Color Field and abstractionist painter Sam Gilliam. Inspired by his innovative use of beveled edges and drapes over paintings, Taylor Pickett was encouraged to go beyond flat surfaces and include sculptural elements in her work. As a result, she created compelling, grommet-mural pieces. In January 1993, her father passed away; he was like a tall oak tree whom she admired and loved. On a clear autumn morning in November 1996, her mother also passed away; she was a guiding presence in Taylor Pickett’s signature visual motifs: fabrics, botanicals, birds, and flowers. As an only child, the loss of her parents marked a major turning point in her life and lowered her vitality, leading to a creative block.

The 1990s brought significant changes to Taylor Pickett’s life and her artistic journey; the concept of memory became central to her creative work. When she experienced painter’s block, she turned to fabric as a form of expression. Influences from Romare Bearden, Henri Matisse—her artistic predecessors—and her paternal grandmother, a quilter, inspired her fabric art. Quilting, a calming and comforting craft, helped Taylor Pickett transform her grief into a healing experience. Through sewing and stitching, her grief becomes a nourishing and joyful legacy that guides her forward.

CONJURE, a collection of fabric constructions, aims to document the artist’s ongoing journey of self-actualization—“homing.” Surrounded by vibrant colors, tendrils of flora, and intricate textiles, the subjects in Janet Taylor Pickett’s work dominate their lively environment, commanding the frame as the essential element in each fabric piece. It draws inspiration from actively shaping and refining memories into a comforting space for the mind, which the artist’s personal geography—the self-landscape of memory—reveals.

ARTIST

Janet Taylor Pickett

Categories: exhibitions

Tags: Janet Taylor Pickett

WE ARE THE LAND

September 7, 2025

Nobuo Sekine Phase Conception: Spring Sea, 1988 Gold leaf, acrylic paint on layers of thick handmade Japanese paper 64 x 89 x 2.5 in. (163 x 226 x 6.4 cm) Signed, dated, and inscribed “N. Sekine ’88, G150-7, Spring Sea” (on a label affixed to the reverse) — Nobuo Sekine
*Phase Conception: Spring Sea*, 1988
Gold leaf, acrylic paint on layers of thick handmade Japanese paper
64 x 89 x 2.5 in. (163 x 226 x 6.4 cm)
Signed, dated, and inscribed “N. Sekine ’88, G150-7, Spring Sea” (on a label affixed to the reverse)

Nobuo Sekine Phase Conception: Spring Sea, detail, 1988 Gold leaf, acrylic paint on layers of thick handmade Japanese paper 64 x 89 x 2.5 in. (163 x 226 x 6.4 cm) Signed, dated, and inscribed “N. Sekine ’88, G150-7, Spring Sea” (on a label affixed to the reverse) — Nobuo Sekine
*Phase Conception: Spring Sea, detail*, 1988
Gold leaf, acrylic paint on layers of thick handmade Japanese paper
64 x 89 x 2.5 in. (163 x 226 x 6.4 cm)
Signed, dated, and inscribed “N. Sekine ’88, G150-7, Spring Sea” (on a label affixed to the reverse)

WE ARE THE LAND

Nobuo Sekine

Phase Conception: Spring Sea

September 9 – October 31, 2025

NEWYORK@BAAHNG.COM

WATCH THE VIDEOS

A JENNIFER BAAHNG curatorial series, WE ARE THE LAND, begins with Nobuo Sekine’s monumental piece, “Phase Conception: Spring Sea” (1988). This artwork provides a compelling and relevant reflection on human interaction with the physical world. Sekine’s body of work—marked by precise formal craftsmanship, material resonance, and philosophical insight—explores the boundary between humanity and nature. His work is neither intrusive nor didactic; it remains calm, contemplative, and deeply connected, like the land itself. As contemporary artists seek to interpret and respond to ecological changes, WE ARE THE LAND features artworks that portray land as a symbol of identity, process, and interconnectedness.

Nobuo Sekine, a pioneering figure in postwar Japanese art, gained notable recognition in the mid-1960s as a co-founder of Mono-ha, also known as the “School of Things.” His exploration of natural and industrial materials demonstrated how these materials exist within the context of space and time. In Sekine’s early masterpiece, “Phase-Mother Earth” (1968), a cylindrical hole was excavated into the ground, and the displaced earth was shaped into a nearby column. This simple yet profound act highlighted Sekine’s long-standing focus on dualities—absence and presence, form and formlessness, earth and void; land itself serving as both the medium and subject.

In the 1980s, Nobuo Sekine launched the Phase Conception painting series, which captured the essence of Mono-ha. These later works, created with handmade paper, gold leaf, and industrial materials, emphasize his enduring interest in temporality, spatiality, and materiality. “Phase Conception: Spring Sea” exemplifies this concept through a wall installation while preserving the conceptual depth of his earthworks. It ranks among the largest pieces in his Phase Conception series. The title signifies a transitional season marked by awakening, fluidity, and atmospheric change. The surface appears shimmering, absorbing, and emitting—evoking a sense of vitality, responsiveness, and instability.

The visual intricacies in “Phase Conception: Spring Sea” are characterized by dense, earthy textures and cavities produced through gouged-out sections of the painting and their subsequent reapplication to the surface, echoing the theme of “Phase-Mother Earth.” Fluid, gestural brushstrokes suggest water flowing across the terrain. The artwork does not narrate a story; rather, it reflects interactions among various elements, establishing a complex relationship between materials. As Sekine posits, land is not a passive entity but an active realm; the painting is a site.

In an era marked by environmental crises, climate instability, and global displacement, WE ARE THE LAND explores a core truth. It questions the modern urge to dominate, control, or aestheticize nature. It invites us to be present, to feel, to perceive, and to see ourselves as connected to the physical world. Nobuo Sekine’s “Phase Conception: Spring Sea” offers a perspective on the world that is not centered on humans. It encourages us to understand what it means to be land — to shimmer, to shift, to erode, and to endure. WE ARE THE LAND reminds us that sometimes the most daring act is to do less, to observe more, and to coexist with what already exists.

BIO

Nobuo Sekine was a significant figure in postwar Japanese art and a prominent member of the Mono-ha movement. Born in Saitama, Japan, in 1942, he studied at Tama Art University in Tokyo, where he first developed an interest in sculpture and site-specific art. His 1968 earthwork “Phase-Mother Earth” is widely recognized as the catalyst for Mono-ha, a movement that redefined the artist’s relationship with materials, space, and perception. Sekine showcased his work internationally throughout his career, including at the Venice Biennale (1970). His pieces are part of the permanent collections of museums worldwide, such as the Guggenheim Museum, the National Museum of Modern Art in Tokyo, and the Leeum Museum of Art in Seoul. Until he died in 2019, Sekine continued to be influential in reshaping the boundaries between object, environment, and perception.

ARTIST

Nobuo Sekine

Categories: exhibitions

Tags: Nobuo Sekine

THUNDERSPANGLE

July 4, 2025

Kevin Melchionne Rearranging Things To Make Them More Believable, 2025 Oil on panel 24 x 36 inches — Kevin Melchionne
*Rearranging Things To Make Them More Believable*, 2025
Oil on panel
24 x 36 inches

Bell and Ganassi The Corpses - Crow and Jay, 2013 Feather, fabric, pinecone, sign segment, and twist tie on paper on cardboard 8.5 x 11 inches — Bell and Ganassi
*The Corpses - Crow and Jay*, 2013
Feather, fabric, pinecone, sign segment, and twist tie on paper on cardboard
8.5 x 11 inches

Kevin Melchionne Living Out Each Other’s Intermittent Fantasies, 2025 Oil on panel 24 x 36 inches — Kevin Melchionne
*Living Out Each Other’s Intermittent Fantasies*, 2025
Oil on panel
24 x 36 inches

Bell and Ganassi The Corpses - Thunderspangle, 2017 Beer can, flag, firecracker wrapper, plastic key, text cutouts, postcard, and acrylic on paper 11.5 x 9 inches — Bell and Ganassi
*The Corpses - Thunderspangle*, 2017
Beer can, flag, firecracker wrapper, plastic key, text cutouts, postcard, and acrylic on paper
11.5 x 9 inches

Kevin Melchionne The Intricate Details Of Individual Lives, 2025 Oil on panel 16 x 20 in — Kevin Melchionne
*The Intricate Details Of Individual Lives*, 2025
Oil on panel
16 x 20 in

Bell and Ganassi The Corpses - Real People, 2005 Cutouts, postcards, beaded ornaments, stamps, text, and pencil on paper 11 x 8.5 inches — Bell and Ganassi
*The Corpses - Real People*, 2005
Cutouts, postcards, beaded ornaments, stamps, text, and pencil on paper
11 x 8.5 inches

Kevin Melchionne Some Kind Of Freedom, 2025 Oil on panel 23 x 48 inches — Kevin Melchionne
*Some Kind Of Freedom*, 2025
Oil on panel
23 x 48 inches

Thunderspangle

July 1 – 31, 2025

Laura Bell and Ian Ganassi, Kevin Melchionne

NEWYORK@BAAHNG.COM

WATCH THE VIDEOS

ARTIST

Bell and Ganassi, Kevin Melchionne

Categories: exhibitions

Tags: Bell and Ganassi Kevin Melchionne

SUE MCNALLY

June 24, 2025

Sue McNally Little Round Top, PA, 2024 Acrylic on canvas 103 x 74 inches — Sue McNally
*Little Round Top, PA*, 2024
Acrylic on canvas
103 x 74 inches

Sue McNally Chesapeake Storm, VA, 2014 Oil on canvas 72 x 96 inches — Sue McNally
*Chesapeake Storm, VA*, 2014
Oil on canvas
72 x 96 inches

Sue McNally

THIS IS MY TUNE

August 16 – October 27, 2025

NEWYORK@BAAHNG.COM

WATCH THE VIDEOS

Opening Reception:

Saturday, August 16, 4 – 6 PM

Artist’s Talk:

Saturday, August 16, 4:30 PM

Location:

Saint-Gaudens National Historical Park

139 Saint-Gaudens Road, NH 03745

As the series evolved, so did my process. Over time, expressive interpretation replaced literal depiction. My focus shifted from geographic accuracy to memory, identity, and experience. The landscape remained the structure, but the act of painting itself began to lead . . . Each piece marks a moment in my practice that signifies a shift in how I approach making.

For more than thirty years, Sue McNally has been painting landscapes, usually multiple landscapes at a time, in an undertaking of discovery through an exploration of surface, tools, mark-making, and color. This Is My Tune features paintings created in the last decade that present an evolution in the artist’s focus and process. While the landscape of the United States is the dominant subject, these vibrant, large canvases reveal a shift from an emphasis on the specificity of location and a reliance on photographic reference material to the intuitive process of painting and exploration of materials.

Sue McNally is based in Newport, Rhode Island, with a creative practice spanning locations in Rhode Island and southeastern Utah. Raised in New England, she earned a BFA from the University of Rhode Island and an MFA from the Savannah College of Art and Design. McNally has held numerous artist residencies, including the Edward E. Elson Artist-in-Residence at the Addison Gallery of American Art, as well as residencies at Carrizozo AIR, Crater Lake National Park, Vermont Studio Center, and Yaddo. Her artwork is included in the permanent collections of several museums, including the Addison Gallery of American Art, the Newport Art Museum, the North Dakota Museum of Art, the RISD Museum, the Tamarind Institute Archive, and the Worcester Art Museum. McNally is represented by Jennifer Baahng Gallery in New York.

VIEW EXHIBITION: https://saint-gaudens.org/exhibition/sue-mcnally/

ARTIST

Sue McNally

Categories: exhibitions

Tags: Sue McNally

JAYE MOON

May 16, 2025

Jaye Moon C.U.m, 2012 Acrylic on canvas 26 x 36 inches — Jaye Moon
*C.U.m*, 2012
Acrylic on canvas
8 x 10 inches

Jaye Moon3 A.S.s, 2012 Acrylic on canvas 13 x 17 inches — Jaye Moon3
*A.S.s*, 2012
Acrylic on canvas
13 x 17 inches

Jaye Moon

PRIVATE

June 1 – 30, 2025

INQUIRIES@BAAHNG.COM

WATCH THE VIDEOS

PRIVATE presents Jaye Moon’s 2012 Number Paintings, mobilizing systems of communication not to disclose, but to conceal. Within a lineage of conceptual art that privileges structure over narrative, the exhibition reveals strategies of communication that are measured, coded, and aesthetically controlled.

Number Paintings reference On Kawara’s canonical Date Paintings, which adheres to a strict formal program, canvas sizes, restrained grounds, and uniformly rendered dates in the language and gesture. Each date marks a day lived without narrativizing the content of that day. The absence becomes the message, suggesting presence and contemporaneity but withholding any subjective anchoring.

Jaye Moon mirrors this formal apparatus and repurposes it through the lens of linguistic encryption. Her Number Paintings maintain the aesthetic and procedural fidelity of Kawara’s format. Instead of universalized dates, Moon features encoded Braille messages—transposed into numerical form through a system derived from the Braille alphabet’s dot configurations. This use of Braille, a tactile writing system used by people who are visually impaired, further complicates the relationship between legibility, visibility, and access. It serves as a metaphor for the complex nature of communication in subversion, as well as the use of tabooed words. Her language is not absent, but rather present in another register that requires translation.

Where On Kawara constructs privacy through erasure and minimalism, Jaye Moon constructs it through obfuscation and code. Both artists instrumentalize the mode of refusal, turning systems of language into architectures of protection. Their works challenge the concept of communication, particularly in terms of personal or emotional meaning, which must be shielded, deferred, or encrypted. In this sense, communication is not a conduit but a boundary.

PRIVATE frames privacy as an active aesthetic condition. Sustained through visual and linguistic constraints, Jaye Moon’s critical practice offers a poetics of discretion. PRIVATE values the careful and deliberate control of information, as well as resistance and the right to remain unread.

ARTIST

Jaye Moon

Categories: exhibitions

Tags: Jaye Moon

JANET TAYLOR PICKETT

May 7, 2025

Janet Taylor Pickett

The Selma Burke Invitational African American Art Show

May 30 – June 29, 2025

Phillips’ Mill, New Hope, PA

WATCH THE VIDEOS

The gallery artist Janet Taylor Pickett is participating in the Selma Burke Invitational African American Art Show, on view from May 30 through June 29, 2025, at Phillips’ Mill. Curated to expand the presentation of African American art and culture beyond the major cities of Philadelphia and New York and invigorate the historical context of Phillips Mill, the focal point of Impressionist art in America. During her 45 years in New Hope, Selma Burke taught youth and adults and contributed to depicting Franklin D. Roosevelt on the dime. The exhibition celebrates the legacy of Selma Burke and the works of all Black artists, challenging stereotypes and honoring Black art, history, and culture. Presented artists include Edward Bannister, Romare Bearden, Chakaia Booker, Kimberly Camp, Willie Cole, Thornton Dial, Wilfredo Lam, Norman Lewis, Faith Ringgold, Mickalene Thomas, and Hale Woodruff.

OFF-SITE EXHIBITION

The Selma Burke Invitational African American Art Show

PRESS

Phillips’ Mill honors Selma Burke with Invitational African American Art Show featuring artists she inspired

ARTIST

Janet Taylor Pickett

Categories: exhibitions

Tags: Janet Taylor Pickett

VOID IN WRITING

October 30, 2024

Yooah Park Void in Writing (detail), 2024 Stainless steel, plexiglass, piano string A site-specific installation Dimension varies — Yooah Park
*Void in Writing (detail 1)*, 2024
Stainless steel, plexiglass, piano string
A site-specific installation
Dimension varies

VOID IN WRITING

September 3 – December 28, 2024

IN THE ATRIUM

WATCH THE VIDEOS

Yooah Park’s Void in Writing is installed in the ATRIUM in Hannam. It is a sculptural mobile made of laser-cut stainless steel suspended by piano strings, soaring 20 feet tall and cascading to the floor. Void in Writing critically analyzes the fundamental nature of communication, raising important questions about its significance when communicative acts devolve into empty gestures. The work investigates the implications of language that lacks meaning, prompting a reevaluation of what constitutes effective communication.

Yooah Park

WATCH THE VIDEO

Categories: exhibitions

Tags: Yooah Park

POETIC PROSE: SUE, LAURA, AND SALLY

October 30, 2024

Sue McNally Plowed Pile, ND, 2023 Acrylic on canvas 90 x 133 inches JBGSM#24101801

Sue McNally New Mexico Mountains, 2024 Acrylic on canvas 61 x 70 inches JBGSM#24101803 — Sue McNally
*New Mexico Mountains*, 2024
Acrylic on canvas
70 x 61 inches
JBGSM#24101803

Sue McNally Night Cholla, 2024 Acrylic on canvas 61 x 70 inches JBGSM#24101804 — Sue McNally
*Night Cholla*, 2024
Acrylic on canvas
70 x 61 inches
JBGSM#24101804

Laura Bell Shoreline/Umbrella, 2002 Oil on canvas 24 x 18 inches JBGLB#24101804 — Laura Bell
*Shoreline/Umbrella*, 2002
Oil on canvas
24 x 18 inches
JBGLB#24101804

Laura Bell Phoenix, 2021 Oil on canvas 28 x 20 inches JBGLB#24101801 — Laura Bell
*Phoenix*, 2021
Oil on canvas
28 x 20 inches
JBGLB#24101801

Sally Egbert I Do, 2017 Oil, acrylic, oil pastel, spray paint, watercolor, hand-painted fabric on canvas 60 x 70 inches JBGSE#24101801 — Sally Egbert
*I Do*, 2017
Oil, acrylic, oil pastel, spray paint, watercolor, hand-painted fabric on canvas
60 x 70 inches
JBGSE#24101801

Sally Egbert Sky Flower, 2017 Oil, acrylic, oil pastel, spray paint, watercolor, hand-painted fabric on canvas 60 x 70 inches JBGSE#24101802 — Sally Egbert
*Sky Flower*, 2017
Oil, acrylic, oil pastel, spray paint, watercolor, hand-painted fabric on canvas
60 x 70 inches
JBGSE#24101802

POETIC PROSE

SUE, LAURA, and SALLY

November 7 – December 28, 2024

Laura Bell, Sally Egbert, Sue McNally

WATCH THE VIDEOS

Hannam

21-18 Hannam-daero 20-gil

Yongsan-gu, Seoul

South Korea 04419

Gangnam

20 Seolleung-ro 119-gil

Gangnam-gu, Seoul

South Korea, 06100

JENNIFER BAAHNG is pleased to announce POETIC PROSE: Sue, Laura, and Sally on view in Seoul from November 7 through December 28, 2024. The exhibition presents landscapes by notable contemporary artists Sue McNally, Laura Bell, and Sally Egbert. They carve their paths with clever takes on nature, combining authority with touches of femininity. Magical, explosive, and persuasive, these inquiries on nature pulsate with idiosyncrasies and inventiveness. The works infuse the exhibition with a theatrical flair, showcasing bursts of brilliance through a dynamic interplay of color and form with psychological depth and exquisite materials. The exhibition highlights the artists’ reflective moments and unexpected encounters with nature, evoking both exhilaration and tranquility while promoting pluralism and a sense of belonging.

Sue McNally draws inspiration from the perpetual struggle with nature, emphasizing that true understanding comes from observing and experiencing the natural world while trusting our instincts. Nature, as a painter’s subject, provides McNally an abstracting freedom that is fleeting and fugitive. Her works depict time, space, and memories, synthesizing her visual recollections into chromatic harmonies. She has painted landscapes for over 30 years, loosening her ties to traditional practices like plein-air painting. Informed by the hierarchies of abstraction and focused on the process of depiction, McNally determines which elements of the landscape should live in abstraction.

Laura Bell probes the nexus of nature and anthropogenic change. Deeply appreciative of the spontaneous and serendipitous, her work is inspired by the fantastical profusion and power of the wild world – chaotic landscapes born of our increasingly extreme face-offs with nature. Our unions and collisions are volatile, fracturing yet brimming with beauty. Bell investigates nature and life with unwavering honesty, through photo collages that serve as an entrance to a described moment. The call-and-response of the paint and the alchemy that happens on the canvas show a picture plane often in flux; the images may be a slow burn, but they are always the provocation for the brushstrokes around and over them.

Sally Egbert imbues the mundane with an uncanny atmosphere. Her work alludes to the untamed beauty of nature, lonely and sumptuous, with an exceptional sensitivity to minute nuances. The works are soft and muted, like shrouded morning light. They are observations from her daily surroundings, infused with ancient symbols and contemporary pep, and influenced by the palette of Giotto. In her paintings, Egbert aims for transparency, movement, and subtlety grounded in images of nature. She invites the viewer to contemplate and wander in the multi layers of applied paints before settling on a deliberate image.

POETIC PROSE: Sue, Laura, and Sally is an intense, poetic landscape of three perspectives on nature. Each artist stakes her claim on nature, and vigorously argues her position on the picture plane. The exhibition is a strikingly intimate and compelling display of landscapes that rediscovers nature in this significant and poignant era.

WATCH THE VIDEOS

Categories: exhibitions

Tags: Laura Bell Sally Egbert Sue McNally

TRANSPACIFIC: LOVE DIFFERENCE

July 27, 2024

R.C. Baker Holi of Holies, 2023 Vintage Verve Records vinyl jacket with two LPs , Lava lamp, wood 25 x 17.5 x 8 in. (63.5 x 44.45 x 20.32 cm) JBGRCB#23100646 — R.C. Baker
*Holy of Holies*, 2023
Vintage vinyl jacket with two LPs, Lava lamp, wood
25 x 17.5 x 8 in. (63.5 x 44.45 x 20.32 cm)

Brandon Ballengée RIP Spix’s Macaw: After Tyler Yicker, 2011/2023 Artist cut and burnt original movie theatre offset lithograph, ashes, and etched funerary urn 42.5 x 29.5 in., (107.95 x 74.93 cm) — Brandon Ballengée
*RIP Spix’s Macaw: After Tyler Yicker*, 2011/2023
Artist cut and burnt original movie theatre offset lithograph, ashes, and etched funerary urn
42.5 x 29.5 in., (107.95 x 74.93 cm)

Laura Bell and Ian Ganassi THE CORPSES: The Favor of Your Response, 2016 Text, tape, cell phone frame, plastic bracelet, string, fabric, and postcard on paper 11 x 8.5 in, (27.94 x 21.59 cm) — Laura Bell and Ian Ganassi
*THE CORPSES: The Favor of Your Response*, 2016
Text, tape, cell phone frame, plastic bracelet, string, fabric, and postcard on paper
11 x 8.5 in, (27.94 x 21.59 cm)

John Cage Ryoku, 1985 A set of 13 color drypoints paper size: 18 x 24 in., (45.72 x 60.96 cm), each — John Cage
*Ryoku*, 1985
A set of 13 color drypoints
paper size: 18 x 24 in., (45.72 x 60.96 cm), each

Ru Marshall The Deli Flowers at Night, 2024 Acrylic and UV Curable Ink on Mirrored Dibond 42.5 x 45 (107.95 x 114.3 cm) — Ru Marshall
*The Deli Flowers at Night*, 2024
Acrylic and UV Curable Ink on Mirrored Dibond
42.5 x 45 (107.95 x 114.3 cm)

Björn Meyer-Ebrecht Warhol, 2024 Vintage cloth book cover, colored pencil, graphite, mounted on archival museum board 12.85 x 17 in., (32 x 53.5 cm) — Björn Meyer-Ebrecht
*Warhol*, 2024
Vintage cloth book cover, colored pencil, graphite, mounted on archival museum board
12.85 x 17 in., (32 x 53.5 cm)

Jaye Moon Get That Money, 2024 60 x 60 in., (152.4 x 152.4 cm) 9,025 Lego bricks in Braille on Dibond — Jaye Moon
*Get That Money*, 2024
60 x 60 in., (152.4 x 152.4 cm)
9,025 Lego bricks in Braille on Dibond

Janet Taylor Pickett The Liminal, 2023 Acrylic on canvas 50 x 62 in. (127 cm x 157.48 cm) — Janet Taylor Pickett
*The Liminal*,2023
Acrylic on canvas
50 x 62 in. (127 cm x 157.48 cm)

TRANSPACIFIC: LOVE DIFFERENCE

September 3 – November 2, 2024

JENNIFER BAAHNG Hannam

21-18 Hannam-daero 20-gil

Yongsan-gu, Seoul

South Korea 04419

R.C. Baker, Brandon Ballengée, Laura Bell and Ian Ganassi , John Cage, Ru Marshall, Björn Meyer-Ebrecht, Jaye Moon, Janet Taylor Pickett

IN THE ATRIUM

VOID IN WRITING

September 3 – November 2, 2024

JENNIFER BAAHNG Hannam

21-18 Hannam-daero 20-gil

Yongsan-gu, Seoul

South Korea 04419

Yooah Park

In celebrating its 20th anniversary, JENNIFER BAAHNG is making a significant mark. The gallery is opening its first Asia galleries, in Seoul, featuring TRANSPACIFIC: Perfect Lovers and Love Difference. This exhibition, presented in two parts at two locations, is a testament to two decades of artistic excellence. It showcases over a hundred boundary-leaping, subtle, playful, and political works presented by a diverse group of twelve artists and one poet, each with their own unique perspective. Perfect Lovers, opening September 5 at JENNIFER BAAHNG Gangnam, is an intimate space of vast intrigue, debuting polyphonic collectives of love, alienation, and the absurdism of ideal love. Love Difference, opening September 3 at JENNIFER BAAHNG Hannam, explores creative differences, alluding to Manet, Warhol, and the art of loneliness. While New York is its home, JENNIFER BAAHNG is expanding its horizons, pivoting to the Pacific to share expertise and resources to develop the collective in Contemporary Art.

Perfect Lovers, installed in the Gangnam district of Seoul, attends to splendid superficiality and yields a rich psychological weave. It is refreshingly sensuous and seeks flexible interpretations: Rather than assert an identity or contest a social order, Kevin Melchionne steps into an imaginary space he aspires to but cannot fully inhabit; Jaye Moon reworked Félix González-Torres’s “Perfect Lovers” with a clock face in numerical Braille; the celebrated Mr. repurposed a found snowboard with iconic Japanese manga adolescent couples; quandaries of love are seen through the prism of the omnipotent Picasso; stories in first-person narrative are found in Janet Taylor Pickett’s “Pride and Insouciance.” TRANSPACIFIC: Perfect Lovers takes on the confines of adorning life.

Love Difference, installed in the Hannam district of Seoul with a palette of soft concrete in tandem with stark white walls with rich tonal nuances, presents clashing, flourishing, and playful works with a contemporary edge, a material wonder. While the installation feels ethereal, the format lends itself to a vivid, grand fantasy of love: R.C. Baker uses a copy of The Velvet Underground & Nico, in “Holy of Holies,” for which Andy Warhol was credited as the album’s producer; Brandon Ballengée’s “Frameworks of Absence” meticulously embodies the extinct species’ haunting absence; John Cage, a leading figure of the post-war avant-garde, is featured through a set of thirteen Ryoku, created with the principles of an ancient Chinese divination text, the I Ching; going beyond collaboration to a kind of conspiratorial imagination, Laura Bell and Ian Ganassi’s “The Corpses” has evolved into more than two decades of personal and material call-and-response, with a new batch of collages usually in progress or transit; Ru Marshall’s iPhone photo of a bodega in Brooklyn captures fleeting inquiries of interactive perception; Björn Meyer-Ebrecht’s old book covers are raising expectations, holding authority, hiding secrets, and promising a visionary spirit—remnants from the proverbial “junkyard of history”; Jaye Moon’s “Get That Money” uses 9,216 Lego bricks to reconstruct K-Rap lyrics by Okasian into Braille in number codes; in Janet Taylor Pickett’s “The Liminal,” a voice chimes with Manet’s Olympia. TRANSPACIFIC: Love Difference reminds us that love is all-inclusive.

Yooah Park’s “Void in Writing” is installed in the ATRIUM in Hannam. The piece is a sculptural mobile made of laser-cut stainless steel suspended by piano strings, soaring 20 feet tall and cascading to the floor. This monumental presentation intrigues and piques the audience’s desire to walk around and contemplate it, enriching TRANSPACIFIC’s rich tapestry of contemporary art.

TRANSPACIFIC embarks on a tour, cites the intricacies, and amps up the romance, love, and deliberate insouciance. Playing out riotously in the soul and body of each work in myriad ways, the exhibition sets up methodical beats so that every work resonates. The show moves forward in a vibrant, varied way that brings different perspectives to the tenets of the unexpected. With sensuality and drama, Perfect Lovers is the good, the mad, and the quirky brought together into fantastical stories. Love Difference is profoundly thoughtful and cleverly argued. JENNIFER BAAHNG’s inaugural exhibition in Asia, TRANSPACIFIC, is a tale of love, in two cities, in Seoul.

WATCH THE VIDEOS

Categories: exhibitions

Tags: Björn Meyer-Ebrecht Janet Taylor Pickett Jaye Moon Ru Marshall

Category Archives: exhibitions

WATCH THE VIDEOS

WATCH THE VIDEOS

WATCH THE VIDEOS

WATCH THE VIDEOS

WATCH THE VIDEOS

WATCH THE VIDEOS

WATCH THE VIDEOS

WATCH THE VIDEOS

WATCH THE VIDEO

WATCH THE VIDEOS

WATCH THE VIDEOS

WATCH THE VIDEOS