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ALREADY AND NOT YET

April 23, 2022
Eric Brown
ALREADY AND NOT YET | ERIC BROWN | MAY 5 - JUNE 25, 2022
ALREADY AND NOT YET | ERIC BROWN | MAY 5 - JUNE 25, 2022
ALREADY AND NOT YET | ERIC BROWN | MAY 5 - JUNE 25, 2022
ALREADY AND NOT YET | ERIC BROWN | MAY 5 - JUNE 25, 2022
ALREADY AND NOT YET | ERIC BROWN | MAY 5 - JUNE 25, 2022
ALREADY AND NOT YET | ERIC BROWN | MAY 5 - JUNE 25, 2022
ALREADY AND NOT YET | ERIC BROWN | MAY 5 - JUNE 25, 2022
ALREADY AND NOT YET | ERIC BROWN | MAY 5 - JUNE 25, 2022
ALREADY AND NOT YET | ERIC BROWN | MAY 5 - JUNE 25, 2022
ALREADY AND NOT YET | ERIC BROWN | MAY 5 - JUNE 25, 2022
Eric Brown
Eric Brown
Rome, 2022
Oil on canvas
18 x 14 in.
Eric Brown
Eric Brown
In The City In May, 2022
Oil on paper
10 x 14 in.
Eric Brown
Eric Brown
In December, 2021
Oil on canvas
11 x 14 in.
Eric Brown
Eric Brown
Horizon (6-12), 2020
Oil on canvas
24 x 20 in.
Eric Brown
Eric Brown
Shroud, 2021
Oil on canvas
24 x 30 in.
Eric Brown
Eric Brown
The Particulars of Rapture, Triptych
2022
Oil on canvas
14 x 43 in.
Eric Brown
Eric Brown
Untitled (Textile), 2022
Oil on canvas
24 x 30 in.
Eric Brown
Eric Brown
The Presence of Everything, 2022
Oil and graphite on paper
11 x 14 in.
Eric Brown
Eric Brown
Spirit, Groan Inwardly While We Wait, Quadtypichs,
2022
Oil on canvas
72 x 82 in.
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ALREADY AND NOT YET

By Eric Brown

May 5 - June 25, 2022

JENNIFER BAAHNG is pleased to announce the gallery representation of Eric Brown and his inaugural show, Already and Not Yet.  The exhibition is a showcase of small and easel-sized paintings and works on paper created since 2020.  Central to this new body of work is process.  Brown employs the sacred process of repetitive mark-making and a meticulous and personal approach to painting to create literal and visual weavings.  The resultant paintings appear as handmade textiles that invite an up-close looking.  Already and Not Yet evokes metaphors of strength and vulnerability, imperfection, mending, and domesticity.  The exhibition will be on view from May 5 through June 11, 2022, with an opening reception on Thursday, May 5, 2022, from 5 pm to 8 pm.

At first glance, the works in Already and Not Yet suggest woven textiles, but they are not paintings of textiles or any singular subject, moment, or linear plot.  Drawing on philosopher Roland Barthes’ theory that text is a living fabric interwoven with multiple meanings, Brown shows in these works a striving for a new painterly language.  Where it is the nature of semantics to constrain and shape meaning, his painted marks-on-canvas offer a “longhand,” open to the vastness of interpretation, capable of suggesting more than just partial answers.  

The Particulars of Rapture (2022), named after a poem by Wallace Stevens, is comprised of three paintings that echo each other with similar themes but individually look different.  A visual tension materialized, the work is an elegant manifestation of the cerebral conundrums questioned by the artist.  Painted freehand, there is a tenderness of human engagement.  

The concept of “already but not yet” was proposed by theologian Geerhardus Vos, who believed that we simultaneously live in the present age and await an “age to come.”  Brown observed that amidst the unimaginable loss and suffering especially during the early days of the pandemic, even in our collective wait for a return to “normalcy,” we continue to live.  

Spirit, Groan Inwardly While We Wait (2020), created around the first weeks of the pandemic, is the source from which the rest of the works in this show originated.  It consists of four various sized panels configured into a cross with an implied fifth panel in the center.  Determinedly cross-hatched, through symbolism and abstraction, the work refers to human form and nature.  It is calm, temperamental, compelling, and yearning for everyday small miracles.  

Intimate, quotidian, diaristic, potent, the works in Already and Not Yet are neither realist nor expressionist.  They are direct and unadorned.  Repeated delicate marks seemingly fluctuate with natural light and heave in breathing spaces.  Already and Not Yet proposes that the spiritual in art may happen on a small scale, rather than in grand, orchestral gestures, and reveals the artist in pursuit of a new abstract vocabulary.  

Eric Brown received a B.A. in Studio Art from Vassar College.  In 2020, he received a Master of Divinity from the Union Theological Seminary.  He is a painter and a chaplain.  He is the recipient of the MacDowell Fellowship (2016) and was a Visiting Artist and Scholar at the American Academy in Rome (2015).  He has had numerous solo exhibitions, including at Ille Arts, Crush Curatorial, James W. Palmer Gallery, and Theodore: Art.  His works have been featured in artcritical, ARTnews, The New Criterion, The New York Observer, and The New York Times.  He divides his time between New York City and Sag Harbor.  

The Particulars of Rapture at ARTS CENTER at DUCK CREEK, July 23 -August 21, 2022

Related:

JANET TAYLOR PICKETT, ZHANG HONGTU, PINK and THE CORPSES


JANET TAYLOR PICKETT, ZHANG HONGTU, PINK and THE CORPSES


Oct 5 – 31, 2023
Eric Brown

ALREADY AND NOT YET

Eric Brown
May 5 - June 25, 2022
Eric Brown

ERIC BROWN

Eric Brown

ERIC BROWN

LOVE DIFFERENCE

LOVE DIFFERENCE

Eric Brown, Janet Taylor Pickett, Zhang Hongtu
May 15 - June 15, 2021

Categories: exhibitions

Tags: Eric Brown

VAN GOGH / BODHIDHARMA

March 23, 2022
Zhang Hongtu
Zhang Hongtu
Zhang Hongtu
Installation 1
Zhang Hongtu
Installation 2
Zhang Hongtu
Installation 3
Zhang Hongtu
Installation 4
Zhang Hongtu
Installation 5
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ZHANG HONGTU

Van Gogh/Bodhidharma
March 25 – April 27, 2022

Van Gogh/Bodhidharma (2007 – 2014) by Zhang Hongtu consists of 39 ink paintings created over the course of seven years. They are the Vincent van Gogh self-portraits remade in the style of the classical Zen portraits of the Buddhist monk, Bodhidharma, the founding patriarch of Zen Buddhism. Zhang’s morphing of van Gogh and Bodhidharma into one is a remarkable display of the artist’s masterful ability to dissolve distinctions between two icons. This notion of breaking down impossible barriers has been the lodestar of Zhang’s life and five-decade-long career. As a Muslim outsider in China, then as a Chinese exile in America, Zhang has continually sought, through his works, to disintegrate dividing walls in culture, politics, and time. His works involve thoughtful juxtapositions of critique with humor, and the appropriation of images of authority figures and cultural icons, for the purpose of deflating the power of such formidably divisive influences. His work captures and contemplates a multi-layered discourse on competing ideas and proposes universality and relevancy in unexpected ways. 

Related:

JANET TAYLOR PICKETT, ZHANG HONGTU, PINK and THE CORPSES


JANET TAYLOR PICKETT, ZHANG HONGTU, PINK and THE CORPSES


Oct 5 – 31, 2023
Zhang Hongtu at Museo Picasso Málaga 

Zhang Hongtu at Museo Picasso Málaga 

October 3, 2023 - March 31, 2024
Madison Ave New York Picasso, Welcome to America June 15 – July 31, 2023

PICASSO, WELCOME TO AMERICA

June 15 – Sept 27, 2023
Zhang Hongtu participates Summoning Memories: Art Beyond Chinese Traditions Summoning Memories: Art Beyond Chinese Traditions at the Asia Society Texas, February 10 - July 2, 2023

Zhang Hongtu is featured at the Asia Society in Texas

February 10 - July 2, 2023
Pitches & Scripts

PITCHES & SCRIPTS

Group Exhibition
January 20 - March 11, 2023
(DE)CONSTRUCTING IDEOLOGY: THE CULTURAL REVOLUTION AND BEYOND November 13, 2022 to March 12, 2023

Zhang Hongtu lectures and exhibits at the Wende Museum

November 13, 2022 - March 12, 2023
TANGO | Summer Exhibition | July 13 - August 17, 2022

TANGO

Summer Exhibition
July 13 - August 17, 2022
Zhang Hongtu

VAN GOGH / BODHIDHARMA

Zhang Hongtu
March 25 - April 27, 2022
ZHANG HONGTU:

Zhang Hongtu’s “Mai Dang Lao” from the Brooklyn Museum Collection is featured on PBS NYC – ARTS

February 17, 2022
LOVE DIFFERENCE

LOVE DIFFERENCE

Eric Brown, Janet Taylor Pickett, Zhang Hongtu
May 15 - June 15, 2021

Categories: exhibitions

Tags: Zhang Hongtu

WINGS OF DESIRE

March 19, 2022
Wings of Desire | Jaye Moon
Wings of Desire | Jaye Moon
Jaye Moon
Wings of Desire, 2022
20 x 50 x 1 in.
Lego bricks, wood 

“It’s great to live by the spirit, to testify for eternity… only what is spiritual in people’s minds. But sometimes I’m fed up with my spiritual existence… of forever hovering above. I’d like to feel a weight in me… to end the infinity, and to tie me to earth.” “Why am I me, and why not you?” “Why am I here, and why not there? -Wings of Desire, 1987, film
Jaye Moon
Jaye Moon Paris/Texas, 2022
Lego Bricks, wood
20 x 20 x1 in.

"You realize that I can't see you, even though you can see me. If you turn the light off in there, will you be able to see me? I don't know. I never tried. Can you see me now? Yeah. Do you recognize me? Oh, Trevis." - Paris,Texas, 1984, film
Jaye Moon
Jaye Moon
Color Purple, 2022
a diptych
Lego bricks, wood
20 x 40 x1 in.

“Folks don’t like nobody being  too proud,  or too free.” “God love admiration. You saying God is vain? No, not vain. Just wanting to share a good thing. I think it pisses God off if you walk by the color purple…… in a field… and you don’t notice it.” - The Color Purple, 1985, film
Jaye Moon
Jaye Moon
Our Differences, 2022
Lego bricks, wood
20 x 20 x1 in.

“It is not our differences that divide us. It is our inability to recognize, accept, and celebrate those differences,” -Audre Lorde in Sister Outsider: Essays and Speeches, 1984, book
Jaye Moon
Jaye Moon
Perfect Lovers, 2012
Altered two commercial clocks
13. 5 x 13.5 x 2.75 in., each
Jaye Moon
Jaye Moon
America, 2000
Lego bricks, plexiglass
12 x 12 x 1 in.

Jaye Moon
America - Pedestrian Crossing, 2002
Lego bricks, plexiglass
12 x 12 x 1 in.

Jaye Moon
America_Red Door, 2000
Lego bricks, plexiglass
12 x 12 x 2 in.

Jaye Moon
Untitled, 1997
Lego bricks, plexiglass, metal
12 x 12 x 1 in.
Jaye Moon
Jaye Moon
Who’s in Heaven, 2012
Iridescent, florescent, matt, transparent plexiglass in aluminum frame
16.25 H x 18.25 W inches
Unique

Jaye Moon
F Word, 2012
Lego bricks, plexiglass
10 x 10 in
Unique

Jaye Moon
S Word, 2012
Lego bricks, plexiglass
10 x 10 in
Unique

Jaye Moon
Cunt, 2012
Iridescent, florescent, matt, transparent plexiglass in aluminum frame
21 x 15.25 in.
Unique
Jaye Moon
Jaye Moon
People Like You need To Fuck People Like Me, 2012
Neon
26 x 35.4 x 2.6 in
Jaye Moon
Jaye Moon
Medicine, 2022
Metal spoon, beads
6.5 x 1.5 x .5 in.
Unique
Jaye Moon
Jaye Moon
Live Or Die, 2022
Lego bricks, two commercial clocks, two amplifiers
13.5 x 13.5 x 2.75 in., each
“Who's deciding who's gonna live?” “Who's deciding who's gonna die?” -The Thin Red Line, 1987, film
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WINGS OF DESIRE

A Brief Survey of Sculptural Paintings by Jaye Moon

March 25 – April 27, 2022

Jennifer Baahng Gallery is pleased to announce the gallery representation of Jaye Moon, and her solo exhibition, WINGS OF DESIRE, a brief survey of sculptural paintings from 2012 to 2022, with a focus on her work with braille. WINGS OF DESIRE is an exhibition that highlights Moon’s praxis of using braille as an art medium to create freer and wider ways to communicate and open possibilities to everyone. The exhibition will run from March 25 through April 27, 2022, with an opening reception on Friday, March 25, 2022, from 3pm to 7pm.

Viewers will experience Moon’s work through the brilliant colors, bold patterns, and the novelty of using universally appealing, unpolitical, mathematical toys as an art medium. Moon’s LEGO paintings also contain messages transcribed in braille. Braille, which is not a language but a code into which many languages can be transcribed, consists of six dots arranged in the formation of a rectangle. Moon uses braille in her work, presented either as dots arranged in a specific formation, or presented as numbers (with each number signifying what would have been a dot’s position in the rectangle). What viewers will find coded in the braille in Moon’s work are the intricate human stories that we share.

In the poetic and eponymous work, Wings of Desire (2022), LEGO bricks are sculpted to visually capture the opening scene of Wim Wenders’ film Wings of Desire (1987). It depicts an aerial view of two invisible angels looking over a city, and the segregation and power that cause one lonesome angel to feel isolated and desirous to connect with people. It also contains a specific pattern of raised dots on the surface, which form the braille transcription of the script excerpt of a poignant moment in the film. The braille is conspicuous but also seamlessly blended into the background. It is tactile and in plain sight for all to see, but at the same time, it transmits messages just for the traditionally excluded.

In the visually striking, Neon work, People Like You Need To Fuck People Like Me (2012), Moon’s rework of Tracey Emin’s 2007 iconic piece, Moon transcribed Emin’s tantalizing, confessional message into braille presented as numbers. It is another example of Moon using the mode of language for the unseen, for its visual and universal utility, this time to shatter the ice in the silenced discussion of female sexuality. Emin’s feminist message is widely received in the West, yet in many Asian cultures, expressing sexuality, especially female sexuality, is discouraged. By translating Emin’s raw message into numerical code, Korea-born Moon opens up the possibility to hail the same message in the face of discrimination, without fear of ostracism or penalty.

Moon uses braille as an art medium to break new ground in the contemporary human condition of isolation caused by barriers of sexuality and disability. She uses braille because it is based on binary logic that can transcend political, cultural, and social structures. It is also the mode of language for the people who are often overlooked.

WINGS OF DESIRE is an elegant and robust display of stunning, intricate, and inventive works that are both exploratory and instructive: as we shift towards more impersonal communication, we may lose the complexity of our own identities, but we also discover new ways to see our identities and gain a greater understanding of each other. In this pursuit of her own distinctive culture, Jaye Moon is undeterred.

Jaye Moon Soars On Wings of Desire by Paul Laster

Related:

Sue McNally Jaye Moon Janet Taylor Pickett

PARADE

June 2025
Jaye Moon F.U.C.k, 2012 Acrylic on canvas 8 x 10 inches

JAYE MOON

PRIVATE
June 1 - 30, 2025
nyfa-logo

Jaye Moon 2025 NYFA Hall of Fame Inductee

March 18, 2025
brooklyn museum logo

Brooklyn Museum : The Brooklyn Artists Exhibition

October 4, 2024 – January 26, 2025
TRANSPACIFIC: LOVE DIFFERENCE September 3 – November 2, 2024 HANNAM, SEOUL

TRANSPACIFIC: LOVE DIFFERENCE

Sept 3 - Nov 2, 2024
GANGNAM, SEOUL PERFECT LOVERS August 16 - October 19, 2024

TRANSPACIFIC: PERFECT LOVERS

Sept 5 - Oct 19, 2024
JANET TAYLOR PICKETT, ZHANG HONGTU, PINK and THE CORPSES


JANET TAYLOR PICKETT, ZHANG HONGTU, PINK and THE CORPSES


Oct 5 – 31, 2023
Madison Ave New York Picasso, Welcome to America June 15 – July 31, 2023

PICASSO, WELCOME TO AMERICA

June 15 – Sept 27, 2023
Jaye Moon included in New York Foundation for the Arts exhibition

Jaye Moon is included in the New York Foundation for the Arts exhibition

October 30, 2022 - October 29, 2023
TANGO | Summer Exhibition | July 13 - August 17, 2022

TANGO

Summer Exhibition
July 13 - August 17, 2022

Categories: exhibitions

Tags: Jaye Moon

BIZARRE DELIGHT

January 9, 2022
Michael McClard
Michael McClard
Michael McClard
Bizarre Delight
Michael McClard
Michael McClard
Bizarre Delight
Michael McClard
Michael McClard
Bizarre Delight
Michael McClard
Michael McClard
Bizarre Delight
Michael McClard
Michael McClard
Bizarre Delight
Michael McClard
Michael McClard
Old School Pop Eye, 1984
Pastel on paper
24 x 18 inches
Michael McClard
Michael McClard
You Relax, 1984
Pastel on paper
24 x 19 inches
Michael McClard
Michael McClard
Yankee, 1983
Pastel on paper
24 x 19 inches
Michael McClard
Michael McClard
These?, 1984
Pastel on paper
24 x 19 inches
Michael McClard
Michael McClard
I Might Have To Bite You, 1984
Pastel on paper
24 x 18 inches
Michael McClard
Michael McClard
Smiling Stepmother, 1984
Pastel on paper
24 x 19 inches
Michael McClard
Michael McClard
Pioneer Great Grandma, 1984
Pastel on paper
24 x 18 inches
Michael McClard
Michael McClard
Miss Bozzart, 1984
Pastel on paper
24 x 18 inches
Michael McClard
Michael McClard
Exasperated Clown, 1984
Pastel on paper
24 x 18 inches
Michael McClard
Michael McClard
Hello Darling, 1984
Pastel on paper
24 x 18 inches
Michael McClard
Michael McClard
Let’s Be Friends, 1984
Pastel on paper
18 x 12 inches
Michael McClard
Michael McClard
Dog Star Afternoon, 1984
Pastel on paper
18 x 12 inches
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BIZARRE DELIGHT

January 26 – February 28, 2022

Jennifer Baahng Gallery is pleased to announce BIZARRE DELIGHT, Michael McClard’s solo exhibition and third exhibition at the gallery.  BIZARRE DELIGHT showcases two dozen pastel drawings produced between 1983 and 1984 that have been largely unseen for many years, and is a singular opportunity for the New York audience to experience the artist’s revelatory work.  The exhibition will run from January 26 through February 28, 2022.  

BIZARRE DELIGHT is a pantheon of imaginary characters – grotesque or elegant, phantasmal or archetypal – that beckons our human interest in identifying faces and registering the meaning behind a face’s expression.  These works are neither portraits nor cartoons, but occasional drawings, and are notable not just for the character or icon depicted, but their facial expressions.  Expression is the cinema of what is in our minds.  In his works, which seethe with figurative content and mine a strong vein of humor, the artist has used expression to say something.

Michael McClard draws in authenticity.  He made these works by simply giving in to the impulse to make gestural, uncontrived marks on a surface, and then elaborating on what those marks suggested.  Born out of his personal stream of consciousness, the resulting art objects are neither bounded by stylistic nor topical constraints, and though idiosyncratic in nature, offer the possibility of speaking universally to other members of the human collective in the affirmative.  These fantastical drawings, which so deftly contain the fleeting moments captured in one’s expression, were born out of the artist’s simple desire to create them:  “I make these objects to amuse myself and because I want them in my world.”

Born in 1947, Michael McClard received his BFA in 1971 from the San Francisco Art Institute with a Peabody Award in Sculpture.  He is the recipient of two National Endowment of the Arts Fellowships, in multimedia and as a visual artist. He was also the founding member and first president of the New York City artists’ group Collaborative Projects Inc. (“Colab”).  His works have been exhibited in many notable shows, including at the Whitney Museum of Art, Foundation Cartier pour l’Art contemporain in France, the Museum of Contemporary Art in Los Angeles, MoMA PS1, Queens Museum in New York, the Milwaukee Art Museum, and a large feature solo show at the Mary Boone Gallery.  His art has been reviewed and featured in The New York Times, Bomb Magazine, Art Forum, Art in America, The New York Magazine, and The Village Voice.  He has taught at the School of Visual Arts in New York, the San Francisco Art Institute in California, and Parsons School of Design in New York. 

Related:

Brooklyn Museum is showcasing MOTIVE, a film by Michael McClard

Brooklyn Museum is showcasing MOTIVE, a film by Michael McClard

November 11, 2022 - April 16, 2023
TANGO | Summer Exhibition | July 13 - August 17, 2022

TANGO

Summer Exhibition
July 13 - August 17, 2022
Michael McClard

BIZARRE DELIGHT

Michael McClard
Jan 26 - Feb 28, 2022
MICHAEL MCCLARD

MICHAEL MCCLARD

Michael McClard

MICHAEL MCCLARD

Michael McClard, Candide

MICHAEL MCCLARD

Categories: exhibitions

Tags: Michael Mcclard

MICHAEL MCCLARD

December 29, 2021
Michael McClard
Michael McClard
Michael McClard
Way Wild West, c.1984
Acrylic on muslin
108 x144 inches
Michael McClard
Michael McClard
Prometheus Presents, c. 1986
Acrylic on muslin
144 x 108 inches
Michael McClard
Michael McClard
Collector Antique, c.1984
Acrylic on linen
108 x 60 inches
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MICHAEL MCCLARD

Lives and works in California

Related:

Brooklyn Museum is showcasing MOTIVE, a film by Michael McClard

Brooklyn Museum is showcasing MOTIVE, a film by Michael McClard

November 11, 2022 - April 16, 2023
TANGO | Summer Exhibition | July 13 - August 17, 2022

TANGO

Summer Exhibition
July 13 - August 17, 2022
Michael McClard

BIZARRE DELIGHT

Michael McClard
Jan 26 - Feb 28, 2022
MICHAEL MCCLARD

MICHAEL MCCLARD

Michael McClard

MICHAEL MCCLARD

Michael McClard, Candide

MICHAEL MCCLARD

Categories: artists

Tags: Michael Mcclard

JAYE MOON

December 29, 2021
Jaye Moon
Jaye Moon Pulkkoch 1 (Wildflower 1), 2025 1050 Lego bricks in Braille 20 x 20 x 1.5 inches
Jaye Moon
Pulkkoch 1 (Wildflower 1), 2025
1050 Lego bricks in Braille
20 x 20 x 1.5 inches
Jaye Moon Pulkkoch 2 (Wildflower 2), 2025 1100 Lego bricks in Braille 20 x 20 x 1.5 inches
Jaye Moon
Pulkkoch 2 (Wildflower 2), 2025
1100 Lego bricks in Braille
20 x 20 x 1.5 inches
Jaye Moon Pulkkoch 3 (Wildflower 3), 2025 1200 Lego bricks in Braille 20 x 20 x 1.5 inches
Jaye Moon
Pulkkoch 3 (Wildflower 3), 2025
1200 Lego bricks in Braille
20 x 20 x 1.5 inches
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JAYE MOON

Lives and works in Brooklyn, NY

ARTIST BIO

Jaye Moon (b. 1963) has been crafting interactive braille paintings with LEGO bricks since the 1990s. Her LEGO Braille paintings demonstrate her innovative approach to accessible art, emphasizing inclusivity and tactile engagement. In these works, Moon translates excerpts from movie scripts, song lyrics, poetries, and prose in literature with a distinct approach, including her writing.  Her work is an abstract painting for all viewers with and without the ability to decipher Braille. Touching the surface of the work transcends its aesthetics and takes on the meaning embodied within.

Moon’s work has been exhibited in Brussels, London, Madrid, Mexico City, Miami, New York, Seoul, and Tokyo. Her museum exhibitions include the Brooklyn Museum, the Queens Museum in New York, the Nam June Paik Art Center, the National Museum of Modern and Contemporary Art of Korea, and the Gyeonggi Museum of Modern Art in Korea. Her artwork has been reviewed in art publications, including Art in America, Artforum, Artnet, Time Out, and News Week Magazine, and featured in the Korean middle school art textbook. She received the Pollock-Krasner Foundation Grant and an MFA in Sculpture from Pratt Institute.  Jaye Moon is the 2025 Hall of Fame inductee of the New York Foundation of Art and is represented by Jennifer Baahng Gallery in New York and Seoul.

SPOTLIGHT

Play Video

Video credit:  NYFA

Jaye Moon

NYFA’s 2025 Hall of Fame Inductee

Tuesday, March 18, 2025, New York

Gallery artist Jaye Moon was honored at The New York Foundation for the Arts for the 2025 Hall of Fame Benefit on Tuesday, March 18, held at Gotham Hall in New York.  Breaking barriers, her LEGO Braille paintings demonstrate her innovative approach to accessible art, emphasizing inclusivity and tactile engagement.  NYFA’s annual Hall of Fame Benefit is a vibrant celebration of the arts and an acknowledgment of the remarkable artists who have made profound impacts in the arts and those who sustain artistic vision with unwavering integrity.

Play Video

Wings of Desire

An Interview with Jaye Moon by Hyewon Yi

April 30, at 5PM at Jennifer Baahng Gallery

On April 30, 2022, in conjunction with the opening of gallery artist Jaye Moon’s solo exhibition “Wings of Desire” (March 25 – April 27, 2022), the artist was interviewed by Hyewon Yi, the Director of the Amelie A. Wallace Gallery at SUNY Westbury. The conversation between Yi and Moon covers Moon’s career trajectory from her days as an art student in Korea to her recent practice, which focuses on visual communication with particular references to film. “Wings of Desire” featured Moon’s ongoing body of conceptual work that utilizes a numerical system and the colors of Legos within the binary logic of Braille.

Related:

Sue McNally Jaye Moon Janet Taylor Pickett

PARADE

June 2025
Jaye Moon F.U.C.k, 2012 Acrylic on canvas 8 x 10 inches

JAYE MOON

PRIVATE
June 1 - 30, 2025
nyfa-logo

Jaye Moon 2025 NYFA Hall of Fame Inductee

March 18, 2025
brooklyn museum logo

Brooklyn Museum : The Brooklyn Artists Exhibition

October 4, 2024 – January 26, 2025
TRANSPACIFIC: LOVE DIFFERENCE September 3 – November 2, 2024 HANNAM, SEOUL

TRANSPACIFIC: LOVE DIFFERENCE

Sept 3 - Nov 2, 2024
GANGNAM, SEOUL PERFECT LOVERS August 16 - October 19, 2024

TRANSPACIFIC: PERFECT LOVERS

Sept 5 - Oct 19, 2024
JANET TAYLOR PICKETT, ZHANG HONGTU, PINK and THE CORPSES


JANET TAYLOR PICKETT, ZHANG HONGTU, PINK and THE CORPSES


Oct 5 – 31, 2023
Madison Ave New York Picasso, Welcome to America June 15 – July 31, 2023

PICASSO, WELCOME TO AMERICA

June 15 – Sept 27, 2023
Jaye Moon included in New York Foundation for the Arts exhibition

Jaye Moon is included in the New York Foundation for the Arts exhibition

October 30, 2022 - October 29, 2023
TANGO | Summer Exhibition | July 13 - August 17, 2022

TANGO

Summer Exhibition
July 13 - August 17, 2022

Categories: artists

Tags: Jaye Moon

JENNIFER CHO

December 3, 2021
Jennifer Cho
Jennifer Cho
Jennifer Cho
Haystack, 2000 - 2023
Compact Discs
Dimensions vary
Jennifer Cho
Jennifer Cho
Haystack (detail), 2000 - 2023
Compact Discs
Dimensions vary
Jennifer Cho
Jennifer Cho
Mountains, 1995 - 2023
Acrylic, colored pencil on convex canvas
100 x 200 in. (254 x 505 cm), detail
Jennifer Cho
Jennifer Cho
Mountains (detail), 1995 - 2023
Acrylic, colored pencil on canvas
10 x 8 x 1.5 in., each
Dimensions vary
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….. “The heart of Greater New York dwells in P.S. 1’s basement. Amidst the antiquated machinery in the basement boiler room glistens Jennifer Cho’s “Haystacks,” straw-like bundles of sliced CDs created through a process she describes as “slow-tech.”  


by Logan Hill, WIRED, April 5, 2000

Related:

Categories: artists

Tags: Jennifer Cho

NECESSARY MEMORIES

August 29, 2021
JTP
Janet Taylor Pickett
Janet Taylor Pickett
And Too, She Was Born, 2021
Acrylic and collage on canvas
36 x 36 in. (91.44 x 91.44 cm)

Janet Taylor Pickett
Mellon Dress, 2001
Oil, charcoal, oil stick, and collage on canvas
60 x 40 in. (152.4 x 101.6 cm)

Janet Taylor Pickett
Hot House, 1996
Oil on unstretched canvas
91.5 x 57.5 in. (232.41 x 146.05 cm)
Janet Taylor Pickett
Janet Taylor Pickett
Memory of Water II, 2021
Acrylic and collage on canvas
40 x 40 in, (101.6 x 101.6 cm)

Janet Taylor Pickett
Remembering The Lightness of Her Being, 2001
Oil, charcoal, oil stick, and collage on canvas
40 x 40 in. (101.6 x 101.6 cm)

Janet Taylor Pickett
Melancholy & Memory, 2021
Acrylic and collage on canvas
40 x 30 in. (101.6 x 76.2 cm)
Janet Taylor Pickett
Janet Taylor Pickett
Black Angel, 1990
Mixed media on canvas and wood
37.5 x 32 x 3 in. (95.25 x 81.28 x 7.62 cm)

Janet Taylor Pickett
Crossings, 2006
Watercolor, pen, ink, handmade stamps, collage on Arches paper
Unique
29 x 41 in. (73.66 x 104.14 cm)

Janet Taylor Pickett
Hagar’s Dress, 2007
Mixed media on paper
Unique
36 x 41 in, (91.5 x 104 cm)

Janet Taylor Pickett
Harriet’s Protection Dress, 2017
Mixed media on paper
Unique
28 1/2 x 37 in. (72.39 cm x 93.98 cm)
Janet Taylor Pickett
Janet Taylor Pickett
Circe’s Domesticity, 1989
Oil and mixed media on canvas
50 x 60 in. (127 x 152.4 cm)

Janet Taylor Pickett
The Artist Unmasked, 2021
Acrylic and collage on canvas
32 x 32 in. (81.28 x 81.28 cm)
Janet Taylor Pickett
Janet Taylor Pickett
Ladies In Waiting, 1981
Oil on canvas
42 x 50 in. (106.68 x 127 cm)

Janet Taylor Pickett
An Offering of History, 2019
Acrylic and collage on canvas
36 x 36 in. ( 91.44 x 91.44 cm)

Janet Taylor Pickett
She Offers A Brighter Day, 2020
Acrylic on canvas
48 x 48 in. (121.92 x 121.92 cm)
Janet Taylor Pickett
Janet Taylor Pickett
She Blooms In Her Own Time, 2021
Acrylic and collage on canvas
40 x 40 in. (101.6 x 101.6 cm)

Janet Taylor Pickett
The Skin I’m In, 2016
Pastel and collages with cotton threads and beads on canvas
48 x 36 in. (121.92 x 91.44 cm)

Janet Taylor Pickett
Filling The Vessel, 2014
Acrylic, pen, ink, collage on canvas
14 x 11 in. (35.56 x 27.94 cm)

Janet Taylor Pickett
Thoughtful Resilience, 2018 -2021
Acrylic with collage on canvas
36 x 36 in. (91.44 x 91.44 cm)
Janet Taylor Pickett
Janet Taylor Pickett
The Skin I’m In, 2016
Pastel and collages with cotton threads and beads on canvas
48 x 36 in. (121.92 x 91.44 cm)

Janet Taylor Pickett
Filling The Vessel, 2014
Acrylic, pen, ink, collage on canvas
14 x 11 in. (35.56 x 27.94 cm)

Janet Taylor Pickett
Thoughtful Resilience, 2018 -2021
Acrylic with collage on canvas
36 x 36 in. (91.44 x 91.44 cm)

Janet Taylor Pickett
Somewhere Along The Journey, 2021
Acrylic, pen, ink, collage on canvas
64 x 48 in. (162.56 x 121.92 cm)
Janet Taylor Pickett
Janet Taylor Pickett
Memory Of Water III, 2021
Acrylic and collage on canvas
40 x 62 in. (101.6 x 157.48 cm)
Janet Taylor Pickett
Janet Taylor Pickett
An Idea Being Born, 2021
Acrylic and collage on canvas
20 x 20 in. (50.8 x 50.8 cm)
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NECESSARY MEMORIES

Sept 14 – Nov 20, 2021

MEET THE ARTIST:

Sept 15 & 16, 12PM – 3PM

LIVE INTERVIEW:

Janet Taylor Pickett with Marion K. Maneker

Sept 14 at 5PM

Marion K. Maneker is President & Editorial Director of ARTnews, Art in America, and Art Market Monitor

“My Blackness is a declarative statement in my work. There are wonderful, discarded objects brought home by my father and botanical prints my mother found from various secondhand stores. Makers of things and tellers of stories surrounded me. In the late 1960s and early 1970s in the midst of socio-political activities, I began to formulate an aesthetic language, a visual synergy. The symbolism of the African American quilt, the pejorative images of the watermelon became part of my cryptology.”

— Janet Taylor Pickett


NECESSARY MEMORIES chronicles Janet Taylor Pickett’s journey as an artist, showcasing selected works from the 1980s through 2021. Coexisting in her often-ornate paintings and collages is imagery drawn from art history, Africa, America and Europe, present and past wherein linear timeframes and logical geographic or cultural relationships are defied. Bold and unapologetically stated, her lyrical and animated work is a multi-textural exposé referencing her varied experiences. The artist offers a confessional narrative illuminated through images of memory and identity. NECESSARY MEMORIES is a living metaphor of the artist finding her way and establishing her presence in the world. This is Taylor Pickett’s first solo exhibition with JENNIFER BAAHNG GALLERY and her first in New York.


What is evident in both bookends of her ongoing art practice is that Taylor Pickett is a storyteller drawing on and weaving throughout her work vivid overlapping motifs. The black female figure that populates her creations are singular women in a singular time and space, drawing on harrowing tales of the Underground Railroad and her own family’s stories as part of the Great Migration that brought them to the Midwest. Her pathway to becoming an artist was tilled in that verdant soil of memory, reflected in the richness of her palette and the skin tones of her figures. These women are manifestly strong and defiant, a posture evident in their intense gazes and frequently in a stance with arms akimbo, itself a representation of power.   


Metaphor plays a central role in Taylor Pickett’s art. This is most apparent in the prevalence of the dress form in many of her works that serves as a stand-in for female identity and a vessel for memory. Another frequent motif is the watermelon, employed as an evocative and provocative symbol in her compositions. The artist sees this ancient form as “a woman’s fruit–red, juicy, sweet, sensuous, round.” Flora and fauna permeate her compositions as well, surfacing in imaginative forms that contribute to the allegorical nature of her work. In the artist’s use of autobiographical symbolism and engagement with issues of fecundity one finds resonance with the self-portraits of Frida Kahlo.


While Romare Bearden’s influence is reflected both visually and conceptually in Taylor Pickett’s multifaceted collage techniques, she has also found frequent inspiration in her masterful interaction with European “masters.” In the cornucopia of artistic styles upon which the artist draws, one can see in her use of color and form vestiges of Henri Matisse. And the remarkable illumination in Johannes Vermeer’s interior scenes has echoes in Taylor Pickett’s more recent paintings. Her engagement with these artists challenges exclusionary practices of canonical art history, laying claim to her rightful place in this creative dialogue with unique compositions expressing her private and intimate musings in her own distinctive voice.


Revealed in this mosaic of tantalizing work is the way in which memories mold us into what we become. Enchantingly eclectic, NECESSARY MEMORIES is a feast for the eye and the soul. It is a window into Janet Taylor Pickett’s restless inner travels and reconciliation with her personal and inherited past.

Article on ARTnews

ARTnews

View on YouTube

YouTube

Related:

Sue McNally Jaye Moon Janet Taylor Pickett

PARADE

June 2025
Janet Taylor Pickett Memory of Water II, 2021 Acrylic and collage on canvas 40 x 40 inches

JANET TAYLOR PICKETT

The Selma Burke Invitational African American Art Show
May 30 - June 29, 2025
Janet Taylor Pickett Entering the Gee’s Bend, 2013 Acrylic, gouache, watercolor, graphite, photos on Arches paper 30 x 22 in.

JANET TAYLOR PICKETT

April – May, 2025
HHammonds House Museum

Janet Taylor Pickett in the Traveling Museum Exhibitions

September 21, 2024 - August 2026
TRANSPACIFIC: LOVE DIFFERENCE September 3 – November 2, 2024 HANNAM, SEOUL

TRANSPACIFIC: LOVE DIFFERENCE

Sept 3 - Nov 2, 2024
GANGNAM, SEOUL PERFECT LOVERS August 16 - October 19, 2024

TRANSPACIFIC: PERFECT LOVERS

Sept 5 - Oct 19, 2024
Janet Taylor Pickett included in Century: 100 Years of Black Art at MAM February 9 to July 7 2024

Janet Taylor Pickett is included in Century: 100 Years of Black Art at MAM

February 9 - July 7, 2024
The Muse, 2023 Acrylic on canvas 48x48 in.

PRIDE AND INSOUCIANCE

February - April 2024
stamps school of art & design

STAMPS interviews Janet Taylor Pickett: History and Artistry

September 25, 2023
JANET TAYLOR PICKETT, ZHANG HONGTU, PINK and THE CORPSES


JANET TAYLOR PICKETT, ZHANG HONGTU, PINK and THE CORPSES


Oct 5 – 31, 2023

Categories: exhibitions

Tags: Janet Taylor Pickett

SECRET GARDEN

June 28, 2021
Installation_1
Installation
Secret Garden I, The Nile (Not Just a River in Africa), Secret Garden II
Installation_2
Installation
Game Overture, B. Brave, Why All This, Mate, The Trick, Game Overture II
Installation_3
Installation
Graffiti 101, Snow Job 101, Ebb and Flow
Installation_4
Installation
Game Overture, B. Brave, Why All This, Portrait
DSC04497
Sophie Matisse
Secret Garden II, 2021
Hand-made fabric chess pieces, embroidery lace ribbon, cotton fringe on tapestry with wooden rods
25 x 23 inches
DSC04494
Sophie Matisse
The Nile (Not Just A River in Africa), 2021
Cloth tapestry with paper map on board, embroidery lace ribbon, tassels on rug with wooden rods
36.75 x 29.50 inches
DSC04484
Sophie Matisse
Secret Garden I, 2021
Glass cabochons, embroidery lace ribbon, silk fringe on tapestry with wooden rods
24 x 21.25 inches
101
Sophie Matisse
Graffiti 101, 2021
Graphite drawings under glass cabochons on tile wallpaper under rug mounted on board
25 x 20.25 inches
snow-job
Sophie Matisse
Snow Job 101, 2021
Gesso, Xerox paper print, reflective glass beads on linen napkin
10 x 10 inches
DSC04515
Sophie Matisse
Ebb and Flow, 2021
Metal studs on tapestry mounted on wood frame
25.25 x 25.25 inches
DSC04542
Sophie Matisse
Portrait, 2021
Gesso cloth with paper and epoxy
25.75 x 19.25 inches
Game II
Sophie Matisse
Game Overture II, 2020
Oil on cotton canvas
20 x 24 inches
DSC04531
Sophie Matisse
The Trick, 2021
Ink, pencil, xerox paper print of a scene from film, “The Trick’, with embroidery lace ribbon and silk fringe
8.5 x 10.5 inches
DSC04523
Sophie Matisse
Mate, 2021
Gesso, carbon, arrows, rope on rug mounted on wood
72 x 48 inches
Game_Overture
Sophie Matisse
Game Overture, 2021
Oil on linen
20 x 24 inches
Royal_Morceau
Sophie Matisse
Royal Morceau, 2021
Oil, collages on cloth napkin mounted on wooden frame
10 x10 inches
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SECRET GARDEN

May 15 – June 30, 2021

 

“As early as I can remember, my understanding of a secret garden was, and above all, that it was a safe place to be. A lovely secluded spot where the weather was perfect and the surroundings, irresistibly enticing with soft dewy moss for my tender bare feet.  
 
Although chess is notorious for its unforgiving ferociously, it too, belonged in my imaginary garden. Watching my grandmother play chess was an entirely captivating sport as I was growing up. With a handsome glass of Old Grand Dad Bourbon Whiskey on the rocks in one hand, she eloquently massacred her opponents in total silence, topping it all off with a polite smile after dealing the last lethal blow. This was always such a sobering reminder for me, of  just how my own imaginary secret garden retained it’s mystical pleasantness. 
 
Over the years, my secret garden has grown to be a place where I can exist autonomously. Where the battle for a good life can include me as a creator, without history or future interfering. The works in Secret Garden are the murmurs streaming in from this secret garden I call my own.”                      
 
by Sophie Matisse

Related:

SECRET GARDEN

SECRET GARDEN

Sophie Matisse
May 15 - June 30, 2021
SOPHIE MATISSE

SOPHIE MATISSE

SOPHIE MATISSE

MORE THAN ONE WAY HOME

Sophie Matisse
Janet Taylor Pickett
Zhang Hongtu
October 10 - November 24, 2020
SophieMatisse at the Art Newspaper

Sophie Matisse was interviewed by BBC TWO on “Becoming Matisse”

Broadcasted on Saturday, April 25, 2020, 9:15pm - 10:15pm.
Sophie Matisse, Nighthawks

SOPHIE MATISSE

Be Back in 5
April - June, 2020
Sophie Matisse, Chess Set

SOPHIE MATISSE

Categories: exhibitions

Tags: Sophie Matisse

LOVE DIFFERENCE

May 9, 2021
LD_1
Installation of Zhang Hongtu, Eric Brown
LD_2
Installation of Eric Brown, Janet Taylor Pickett
LD_3
Installation of Eric Brown, Jaye Moon
2_EricBrown, Untitled (6-9), 2020, oil on canvas, 14 x 11 inches copy
Eric Brown
Untitled (6-9), 2020
Oil on canvas
14 x 11 inches
Eric Brown
Eric Brown
Untitled (8-28), 2020
Oil on canvas
8 x 10 inches
1_Eric Brown_ Untitled (7-2), 2020, 'oil on canvas, 18 x 14 in
Eric Brown
Untitled (7-2), 2020
Oil on canvas
18 x 14 inches
4_JTP_She_Offers_A_Bright_Day
Janet Taylor Pickett
She Offers A Brighter Day, 2020
Acrylic on canvas
48 x 48 inches
5_ZHT_1 copy
Zhang Hongtu
In Memory of Tseng Kwong Chi (World Trade Center, NY), 1991
Photocopy and epoxy resin
14 x 11 inches
Hollywood
Zhang Hongtu
In Memory of Tseng Kwong Chi (Hollywood), 1991
Photocopy and epoxy resin
14 x 11 inches
6_ZHT_2 copy
Zhang Hongtu
In Memory of Tseng Kwong Chi (Statue of Liberty), 1991
Photocopy and epoxy resin
14 x 11 inches
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LOVE DIFFERENCE

May 15 – June 15, 2021 

Eric Brown

“My recent paintings were made during a pandemic. Making them was a daily meditative practice. It was like keeping a journal. French philosopher Roland Barthes draws an analogy between text and textiles (“text” comes from the Latin texere, to weave). Through a repetition of mark-making, my paintings appear woven. They are not painted to look like textile. Their appearance is a byproduct of the painting process. The completed painting is a record of my experience making it. The eye follows “threads” of paint, their accumulation creating a larger whole. My new work is paradoxical: slow yet fast, precise yet open, deliberate yet intuitive. I am freer for having made them.”

Janet Taylor Pickett

“My Blackness is a declarative statement in my work. There are wonderful discarded objects brought home by my father and botanical prints my mother found from various second hand stores. Makers of things and tellers of stories surrounded me. In the late 1960’s and early 1970’ in the midst of sociopolitical activities, I began to formulate an aesthetic language, a visual synergy. The symbolism of the African American quilt, the pejorative images of the watermelon became part of my cryptology.”  

Zhang Hongtu

…In Memory of Tseng Kwong Chi (1991) is a photo series that looked to the work of one of Zhang’s contemporaries, the Hong Kong-born performance artist Tseng Kwong Chi, who died of AIDS in 1990. Appropriating Tseng’s photographs, Zhang used the work of his friend to further extrapolate upon the mechanisms by which iconography constructs identity and how artistic intervention can disrupt the language of power. Created for the 1991 exhibition Dismantling Invisibility; Asia and Pacific Island Artists Respond to the AIDS Crisis, Zhang’s work selected fifteen photographs from Tseng’s acclaimed self-portrait series East Meets West (also known as the Expeditionary Self-Portraits, 1979-89) and reconfigured them into photo collages using his familiar epoxy technique. In these photos, Tseng performed the role of “ambiguous ambassador” and posited himself the stereotypical tourist sites (the Eiffel Tower, the Grand Canyon, the Hollywood sign) while dressed in a Mao suit. The series was a subversive yet ludic exploration of cultural identity, perception, and the status of the individual amid the monumental. In Zhang’s reworking of these photos, he cut out the figure of his close friend and colleague, leaving a ghostly silhouette in his absence. The removal of Tseng’s body next to the famous profiles of monuments and natural wonders created a displacement that was not only a deeply sentimental tribute to a dear friend, but, in the words of Zhang, “dismantled” the imagery further, disrupting historical continuity…

“Art and China After 1989, Theater of the World”
Guggenheim 2017
Page 237

https://www.guggenheim.org/exhibition/art-and-china-after-1989-theater-of-the-world

Related:

JANET TAYLOR PICKETT, ZHANG HONGTU, PINK and THE CORPSES


JANET TAYLOR PICKETT, ZHANG HONGTU, PINK and THE CORPSES


Oct 5 – 31, 2023
Eric Brown

ALREADY AND NOT YET

Eric Brown
May 5 - June 25, 2022
Eric Brown

ERIC BROWN

Eric Brown

ERIC BROWN

LOVE DIFFERENCE

LOVE DIFFERENCE

Eric Brown, Janet Taylor Pickett, Zhang Hongtu
May 15 - June 15, 2021
Sue McNally Jaye Moon Janet Taylor Pickett

PARADE

June 2025
Janet Taylor Pickett Memory of Water II, 2021 Acrylic and collage on canvas 40 x 40 inches

JANET TAYLOR PICKETT

The Selma Burke Invitational African American Art Show
May 30 - June 29, 2025
Janet Taylor Pickett Entering the Gee’s Bend, 2013 Acrylic, gouache, watercolor, graphite, photos on Arches paper 30 x 22 in.

JANET TAYLOR PICKETT

April – May, 2025
HHammonds House Museum

Janet Taylor Pickett in the Traveling Museum Exhibitions

September 21, 2024 - August 2026
TRANSPACIFIC: LOVE DIFFERENCE September 3 – November 2, 2024 HANNAM, SEOUL

TRANSPACIFIC: LOVE DIFFERENCE

Sept 3 - Nov 2, 2024
GANGNAM, SEOUL PERFECT LOVERS August 16 - October 19, 2024

TRANSPACIFIC: PERFECT LOVERS

Sept 5 - Oct 19, 2024
Janet Taylor Pickett included in Century: 100 Years of Black Art at MAM February 9 to July 7 2024

Janet Taylor Pickett is included in Century: 100 Years of Black Art at MAM

February 9 - July 7, 2024
The Muse, 2023 Acrylic on canvas 48x48 in.

PRIDE AND INSOUCIANCE

February - April 2024
stamps school of art & design

STAMPS interviews Janet Taylor Pickett: History and Artistry

September 25, 2023
JANET TAYLOR PICKETT, ZHANG HONGTU, PINK and THE CORPSES


JANET TAYLOR PICKETT, ZHANG HONGTU, PINK and THE CORPSES


Oct 5 – 31, 2023
JANET TAYLOR PICKETT, ZHANG HONGTU, PINK and THE CORPSES


JANET TAYLOR PICKETT, ZHANG HONGTU, PINK and THE CORPSES


Oct 5 – 31, 2023
Zhang Hongtu at Museo Picasso Málaga 

Zhang Hongtu at Museo Picasso Málaga 

October 3, 2023 - March 31, 2024
Madison Ave New York Picasso, Welcome to America June 15 – July 31, 2023

PICASSO, WELCOME TO AMERICA

June 15 – Sept 27, 2023
Zhang Hongtu participates Summoning Memories: Art Beyond Chinese Traditions Summoning Memories: Art Beyond Chinese Traditions at the Asia Society Texas, February 10 - July 2, 2023

Zhang Hongtu is featured at the Asia Society in Texas

February 10 - July 2, 2023
Pitches & Scripts

PITCHES & SCRIPTS

Group Exhibition
January 20 - March 11, 2023
(DE)CONSTRUCTING IDEOLOGY: THE CULTURAL REVOLUTION AND BEYOND November 13, 2022 to March 12, 2023

Zhang Hongtu lectures and exhibits at the Wende Museum

November 13, 2022 - March 12, 2023
TANGO | Summer Exhibition | July 13 - August 17, 2022

TANGO

Summer Exhibition
July 13 - August 17, 2022
Zhang Hongtu

VAN GOGH / BODHIDHARMA

Zhang Hongtu
March 25 - April 27, 2022
ZHANG HONGTU:

Zhang Hongtu’s “Mai Dang Lao” from the Brooklyn Museum Collection is featured on PBS NYC – ARTS

February 17, 2022
LOVE DIFFERENCE

LOVE DIFFERENCE

Eric Brown, Janet Taylor Pickett, Zhang Hongtu
May 15 - June 15, 2021

Categories: exhibitions

Tags: Eric Brown Janet Taylor Pickett Zhang Hongtu

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