SHELTER SERRA: House On Fire

March 5, 2019

Baahng Gallery is pleased to announce the representation of artist Shelter Serra. The inaugural solo exhibition at the gallery HOUSE ON FIRE is on view from October 27 through December 27, 2016. The Artist Reception will be held on Tuesday, 6-8 pm, November 15, 2016.

HOUSE ON FIRE showcases a series of new paintings and small survey of sculptures that represent a cross-section of contemporary American life: high fashion, luxury items, media and press, territory issues, surveillance, nostalgic classic Americana. After the financial collapse of 2008, the version of the American Dream that we have come to know is now a relic. In the headline painting of this exhibition, the fire that is overtaking the house is marking the end of the old as well as clearing the way for a new beginning. Although the opportunity to start anew is comforting, the viewer is also forced to reflect on where the cultural aspirations of the American Dream should now lay. Shelter Serra’s works exhibited in this show invite viewers to give the meaning of the American Dream a much-needed update.

Born in 1972 in Bolinas, California, Shelter Serra completed a BA in Studio Art from the University of California at Santa Cruz and an MFA in Painting & Printmaking at the Rhode Island School of Design. His work has been exhibited nationally and internationally at galleries and museums including Mead Carney Gallery, Marlborough Gallery, Perry Rubenstein Gallery, Renwick Gallery, Bolinas Museum, and Maryland Institute of Art. He currently works and lives in New York.

October 27 – December 27, 2016

Opening reception:

Tuesday November 15th, 2016

6-8pm

SHELTER SERRA: House On Fire

October 27 - December 27, 2016

SHELTER SERRA

“SHELTER SERRA SETS THE HOUSE ON FIRE”, by Ashley W. Simpson

"THE ARTIST’S FIRST SOLO SHOW DISSECTS THE AMERICAN DREAM", FASHION UNFILTERED

November 15, 2016

“SHELTER SERRA: EMPTY THE AMERICAN DREAM”, Frontrunner Magazine

by Shana Beth Mason

November 3, 2016

Categories: exhibitions

Tags: Shelter Serra

NOBUO SEKINE AND ZHANG HONGTU: TWO ROCKS

March 4, 2019

Jennifer Baahng Gallery is pleased to present TWO ROCKS, an exhibition for artists Nobuo Sekine and Zhang Hongtu. The exhibition will showcase a selection of their paintings, sculptures, and multi-media installations, from the 1980’s and 1990’s. The exhibition will run from September 20th through October 21, 2017.

TWO ROCKS showcases the work of modern sages, Nobuo Sekine and Zhang Hongtu, from the 1980’s and 1990’s, pivotal years in their contributions to art.

September 20 – October 21, 2017

Opening reception:

Wednesday, September 20th, 2017

6-8pm

Artists in the exhibition

Nobuo Sekine

Zhang Hongtu

Biography

Zhang Hongtu

Concurrently, in the late 1980’s, Zhang, a forerunner of Political Pop Art, immigrated to New York where he would discover Pop Art against the geopolitical backdrop of the 1989 Tiananmen Square Massacre. Zhang is known for using various painting styles and media to produce artistic critiques of the Chinese Cultural Revolution, including through his appropriating images of Mao Zedong. His newer works have branched into environmental concerns, and include his classical Chinese landscape paintings, which, traditionally painted in black-and-white, are added with sensuous, toxic colors.

Born in 1943 in Pingliang, China, Zhang Hongtu is the recipient of awards, including from the Pollock Krasner Foundation in 1991 and the National Endowment for Arts in 1995. His works have been exhibited internationally, including at Bronx Museum, Kaohsiung Museum in Taiwan, Museu Picasso in Spain, Queens Museum, The Deichtorhallen in Germany, Israel Museum, and Metropolitan Museum of Art. Guggenheim Museum in New York will showcase Zhang Hongtu’s Vitrine, 1986-1995 in the upcoming exhibition “Art and China After 1989: Theater of the World.” TWO ROCKS will feature paintings, sculptures, and multi-media installations by Zhang, including Self-Portrait in the Style of the Old Masters, The Red Door, and Re-Make of Ma Yuan’s Water Album (780 Years Later).

Nobuo Sekine

Sekine is a key founder of Mono-ha, a group of artists that gained prominence in Tokyo in the late 1960’s for their rejection of the traditional ideas of representation. Primarily known as a sculptor, Sekine incorporates natural and industrial materials in his work, and his work explores the properties and interdependency of these materials with their surrounding space. In the late 1980’s, he returned to his original training as a painter, and began creating Phase Conception – a series of “paintings” of phases. The phases are made out of thick Japanese handmade paper, cut out, torn, pasted back onto the remaining surface, and coated with either gold leaf or black lead. They are based on a topological geometry concept as applied to space, which is that the continuous transformation of form does not affect the sum total of the form’s mass.

Born 1942 in Saitama prefecture, Japan.

Graduated in 1968 with a M.F.A. in Painting, studying under artist Yoshishige Saito.

From 1968 into the 1970s, Sekine worked internationally as a central figure of “Mono-ha” (translated literally as “School of Things”), a movement considered instrumental in the formation of postwar Japanese art. Phase—Mother Earth, an earthwork first constructed in Suma Rikyu Park, Kobe, in 1968, is widely recognized as marking the beginning of Mono-ha, and as one of the most iconic works of this period in Japan.

In 1970, Sekine represented Japan in the Venice Biennale with Phase of Nothingness, consisting of a large natural stone supported by a mirrored stainless steel column. The sculpture is now in the permanent collection of the Louisiana Museum of Modern Art in Humlebæk, Denmark. Sekine remained in Europe after the Biennale, exhibiting in Italy, Switzerland, and Denmark. Informed by his observations on art and architecture, urban and public space in Europe, Sekine returned to Japan to establish Environmental Art Studios, a public art agency, in 1973.

From 1978 to 1979, Sekine returned to Europe for the traveling exhibition of his work Phase of Nothingness—Black. The solo exhibition toured from the Künsthalle Dusseldorf, Germany, to the Louisiana Museum of Modern Art, Humlebæk, Denmark; the Kröller-Müller Museum, Otterlo, Netherlands; and the Henie-Onstad Art Centre, Høvikodden, Norway.

In 1993, Sekine and Phase—Mother Earth were cited by 30 participating critics, curators, and journalists in the survey “Sengo bijutsu besuto ten” (Postwar art best ten), featured in the prominent art magazine Bijutsu Shinchō.

In 2001, Sekine was included in the exhibit Century City at the Tate Modern, London, for his critical role in the burgeoning Tokyo art scene between 1969 and 1973. He also participated in the Gwangju Biennale, Korea, the same year.

Selected exhibitions of Sekine and Mono-ha include Reconsidering Mono-ha, The National Museum of Art, Osaka, 2005; What is Mono-Ha? Beijing Tokyo Art Projects, Beijing, 2007; Requiem for the Sun: The Art of Mono-ha, Blum & Poe, Los Angeles, 2012; Art Unlimited, Art Basel, Basel, 2013; Prima Materia, Punta Della Dogana, Venice, 2013; Parallel Views: Italian and Japanese Art from the 1950s, 60s, and 70s,The Rachofsky Warehouse, Dallas, Texas, 2013.

Sekine is currently Visiting Professor at Tama Art University and Kobe Design University.

Selected Solo Exhibitions

2014 Blum & Poe, Los Angeles, CA

2011 Re-creations 1970/2011, Kamakura Gallery, Kamakura, Japan Monogatari, Shanghai Sculpture Space, Shanghai,China

2010 BE-UP-ART, Tokyo, Japan
2009 Center Gallery, Yokohama, Japan

Kawagoe Gallery, Kawagoe, Japan

2008 Gallery Bijutsu Sekai, Tokyo, Japan Gallery Art Composition, Tokyo, Japan

PYO Gallery, Seoul, Korea

2007 Center Gallery, Yokohama, Japan Gallery Bijutsu Sekai, Tokyo, Japan

Shina Gallery, Kyoto, Japan

2006 Saint Paul Gallery, Maebashi, Japan Gallery Bijutsu Sekai, Tokyo, Japan

2005 Gallery Bijutsu Sekai, Tokyo, Japan
MANIF 11! ’05 SEOUL, Seoul Art Center, Seoul, Korea

2004 Movement, Feeling, Environment, Tokyo Gallery + BTAP, Beijing,China Art Dune, Hamamatsu, Japan

Phase of Nothingness – Black from ’78-’79 solo exhibition in Europe, Kamakura Gallery, Kamakura, Japan

2003 Kawagoe City Art Museum, Saitama, Japan

2001 Art Dune, Hamamatsu, Japan
1999 Museum Shokyodo, Aichi, Japan
1998 Saint Paul Gallery, Maebashi, Japan

1997 Kawagoe Gallery, Kawagoe, Japan Art Dune, Hamamatsu, Japan

1996 Archaeology of Phase – Mother Earth, Otani Memorial Art Museum, Nishinomiya, Japan

1995 Gallery Art Point, Tokyo, Japan Galleri Akern, Kongsberg, Norway

1994 Art Dune, Hamamatsu, Japan

1993 Sakura Gallery, Nagoya, Japan

1992 Museum Shokyodo, Aichi, Japan
Nobuo Sekine, Soko Tokyo Gallery, Tokyo, Japan

1991 Kawagoe Gallery, Kawagoe, Japan
Tenmaya Department Store, Okayama, Japan

Anshindo Gallery, Shizuoka, Japan Art Dune, Hamamatsu, Japan

1990 Tenjuen, Niigata, Japan
Soko Museum, Niigata, Japan Atelier Gallery, Niigata, Japan

Sogo Department Store, Hiroshima, Japan
Seibu Department Store – Studio 5, Tokyo,Japan Mitsukoshi Department Store, Tokyo, Japan

1989 Kodosha, Ichinoseki, Japan Gallery Lamia, Tokyo, Japan

Chikugo Gallery, Kurume, Japan
Mitsui Gallery, Matsudo, Japan
Gallery TAK, Yokohama, Japan
Susono Art House, Susono, Japan
Kozaido Gallery, Tokyo, Japan
Kobundo Gallery, Obihiro, Japan Gojuichiban-kan Gallery, Aomori, Japan Gallery Picasso, Maebashi, Japan Katsuyama Isozaki Hall, Fukui, Japan Stempfli Gallery, New York, New York Umeda Modern Art Museum, Osaka, Japan

1988 Gallery M, Obama, Japan
Art Dune, Hamamatsu, Japan

Kozaido Gallery, Tokyo, Japan Nishida Gallery, Nara, Japan
Soh Gallery, Tokyo, Japan Anshindo Gallery, Shizuoka, Japan Gallery Kura, Kitakyushu, Japan We Gallery, Omiya, Japan

1987 Ginza Jiyugaoka Gallery, Tokyo Gallery Te, Tokyo, Japan

Kawagoe Gallery, Kawagoe, Japan Sakura Gallery, Nagoya, Japan Tokyo Gallery, Tokyo, Japan

1985 Akiyama Gallery, Tokyo, Japan
1983 Sekine and Environment Art Studio, Stripe House Museum, Tokyo, Japan

1982 Sekine’s Prints and Sculptures: Cross Country 7500Km, Keneko Art Gallery, Tokyo, Japan

1981 Kaneko Art Gallery, Tokyo, Japan Sakura Gallery, Nagoya, Japan

1980 Kaneko Art Gallery, Tokyo, Japan Tokyo Gallery, Tokyo, Japan

1978 Nobuo Sekine: Skulptor 1975-1978, Kunsthalle, Dusseldorf, Germany; traveled to Louisiana Museum of Art, Humlebæk Denmark; Kröller-Müller Museum, Otterlo, Netherlands; Henie-Onstad Art Centre, Høvikodden, Norway

1977 Kaneko Art Gallery, Tokyo, Japan Sakura Gallery, Nagoya, Japan

Tokyo Gallery, Tokyo, Japan

1976 Gallery Dori, Tokyo, Japan

1975 Sakura Gallery, Nagoya, Japan

1973 Tokyo Gallery, Tokyo, Japan

1971 Gallery Krebs, Bern, Switzerland Gallery Birch, Copenhagen, Denmark

1970 Galleria La Bertesca, Genova, Italy Genoa Gallery Modulo, Milan, Italy

1969 Tokyo Gallery, Tokyo, Japan

Selected Group Exhibitions

2014 Group “Genshoku” and Ishiko Junzo 1966-1971, Shizuoka PrefecturalMuseum of Art, Shizuoka, Japan

Mono-ha, Tabloid Gallery, Tokyo, Japan
Mono-ha by Anzai: Photographs 1970-1976, Zeit-Foto Salon, Tokyo,Japan Other Primary Structures (Others 2: 1967 – 1970), Jewish Museum,
New York, NY
Mono-ha Artists, Museum of Contemporary Art, Karuizawa, Japan
The Hara Museum Collection at 35, Hara Museum of Contemporary Art, Tokyo, Japan

2013 Prima Materia, Punta della Dogana, Venice, Italy
Tricks and Vision to Mono-ha, Tokyo Gallery + BTAP, Tokyo, Japan Parallel Views: Italian and Japanese Art from the 1950s, 60s, and 70s, The Warehouse, Dallas, TX

2012 Ends of the Earth: Land Art to 1974, Museum of Contemporary Art, Los Angeles, CA; traveled to Haus der Kunst, Munich

Tokyo 1955-1970, Museum of Modern Art, New York, NY

Requiem for the Sun: The Art of Mono-ha, Blum & Poe, Los Angeles, California The ‘70s in Japan: 1968-1982, Museum of Modern Art, Saitama, Japan; traveled to Hiroshima City Museum of Contemporary Art, Hiroshima, Japan
The Artists of Mono-ha and Its Era, Rakusui-tei Museum of Art, Toyama,Japan

2011 Gallery’s Collection Exhibition: Mono-ha, Tokyo Gallery + BTAP, Tokyo,Japan

2010 Masan Munsin International Sculpture Symposium, Munsin Art Museum, Masan, Korea

Tokyo Gallery + BTAP 60th Anniversary Exhibition, Tokyo Gallery + BTAP, Tokyo, Japan
Yanpyon Environment Festival, Korea
Printing Exhibition of Shanghai World Expo 2010, Shanghai, China

Micro Salon 60, Tokyo Gallery + BTAP, Tokyo, Japan

2009 Drawing Story I 1960–1990, Tokyo Gallery + BTAP, Tokyo, Japan

2008 Tamagawa Art Line Project, Tokyo, Japan
Art Scene Revived, Tokyo Gallery + BTAP, Tokyo, Japan

2007 What is Mono-ha?, Beijing Tokyo Art Project, Beijing,China
Nobuo Sekine & Mitsukuni Takimoto, Yokohama Portside Gallery, Yokohama, Japan

2006 Public Art, Gallery NOVITA, Aomori, Japan
Memorial for Yoshiaki Tono, Gallery TOM, Tokyo, Japan

Mono-ha: Lee Ufan, Kishio Suga, Nobuo Sekine – from the 1970’s, Soh Gallery, Tokyo, Japan

2005 Reconsidering Mono-ha, National Museum of Art, Osaka,Japan

2004 Kim Tschang-Yeul, Sekine Nobuo & Susumu Sakaguchi, Gallery Bijutsu Sekai, Tokyo, Japan

The New Tokyo Gallery Exhibition, Tokyo Gallery + BTAP, Tokyo,Japan

2003 The 20th Anniversary of Gallery Q, Gallery Q, Tokyo, Japan

2002 Sculpture Project, Busan Biennale, Busan, Korea
Memorial for Yoshishige Saito, Kawamura Gakuen Art Hall, Tokyo, Japan

2001 Century, Tate Modern Art Gallery, London, UK Mono-ha, Kamakura Gallery, Tokyo, Japan

Mono-ha, Kettle’s Yard Art Gallery, Cambridge, UK
Retrospective Exhibition for Nagaoka Museum Prize 1964-68, The Niigata Prefectural Museum of Modern Art, Niigata, Japan

2000 Gwangju Biennale, Gwangju, Korea
Modern Art of Japan: Monet de Paris, French National Mint Bureau, Paris, France

1998 Lumieves – Light – Rediscovery of Stained Glass, TN Probe, Tokyo, Japan 1997 Modern Art from a Collector’s View Point: Yamamura Collection, Hyogo

Prefectural Museum of Art, Kobe, Japan Street Museum, Kawagoe, Japan

1996 Inside and the Outside of Art, Itabashi Art Museum, Tokyo, Japan 1970-Material and Perception – Mono-ha and Artists Who Ask Root, Saint Ratienu Museum, France

1995 Archeology of Phase – Mother Earth, Otani Memorial Art Museum, Nishinomiya, Japan

Japanese Culture: The Fifty Postwar Years, Meguro Museum of Art, Tokyo, Japan; traveled to Hiroshima City Museum of Contemporary Art, Hiroshima, Japan; Fukuoka Prefectural Museum of Art, Fukuoka, Japan; Hyogo Prefectural Museum of Art, Kobe, Japan

46th Venice Biennale: ASIANA Contemporary Art from The Far East, Palazzo Vendramin Calergi, Venice, Italy
Matter and Perception 1970: Mono-ha and the Search for Fundamentals, Museum of Fine Arts Gifu, Gifu, Japan; traveled to Hiroshima City Museum of Contemporary Art, Hiroshima, Japan; Kitakyushu Municipal Museum of Art, Kitakyushu, Japan; Museum of Modern Art, Saitama, Japan; Museum of Modern Art Sain-Étienne, Saint-Étienne, France

1994 Landscape of Stone, Dockyard Garden, The Landmark Tower Yokohama, Yokohama, Japan

Mono-ha, Kamakura Gallery, Tokyo, Japan
Different Natures, La Virreina, Barcelona, Spain
Memorial for Yaeko Fujita: Artists and Sakura Gallery, Sakura Gallery, Nagoya, Japan
Japanese Art after 1945: Scream against the Sky, Yokohama Museum of Art, Yokohama; traveled to Guggenheim Museum Soho, New York, NY; San Francisco Museum of Modern Art, San Francisco, CA
ASIANA Contemporary Art from the Far East, Parazzo, Italy

1993 Imura Art Gallery, Kyoto, Japan Konishi Gallery, Kyoto, Japan

Oomitsu Collection, Niigata City Art Museum, Niigata, Japan
Differentes Natures, Visions de l’Art Contemporain, Galerie Art 4 et Galerie de l’Esplanade, Paris, France
Exposition Différentes Natures, Galerie Art La Defense, Paris, France

1992 Avantguardie Giapponesi degli anni 70, Galleria Comunale d’Arte Moderna di Bologna; traveled to Setagaya Art Museum, Tokyo, Japan

1991 Gallery Gen-Group Show, Tokyo, Japan
70’s-80’s Contemporary Art: Mono-ha, Kamakura Gallery, Tokyo, Japan

1990 Yokohama Business Park, Yokohama, Japan

1989 Japanese Open-Air Sculptures, Middelheim Museum, Antwerp, Belgium

1988 Mono-ha: La Scuola delle cose, Museum Laboratorio di Arte Contemporanea, Rome Italy

Seen by Hands, Seibu Department Store, Yurakucho, Tokyo,Japan

1987 Art in Japan since 1969: Mono-ha and Post Mono-ha, Seibu Museum of Art, Tokyo, Japan

Nobuo Sekine and Koji Enokura Recent Print Works, Naruse Murata Gallery, Tokyo, Japan
Tokyo Gallery Group Exhibition, Tokyo Gallery, Tokyo,Japan

1986 Mono-ha, Kamakura Gallery, Tokyo, Japan
Lee Ufan, Nobuo Sekine, Kishio Suga: Methods of the 1970s, Soh Gallery, Tokyo, Japan
Le Japon des Avant-Gardes, Centre Georges Pompidou, Paris, France

1984 Human Documents ’84/’85-3, Tokyo Gallery, Tokyo, Japan
Art of Present Time. Wood and Paper-Dialogue with Nature, Gifu Prefectural Museum, Gifu, Japan
Development of Contemporary Sculpture, Gallery Seiho, Tokyo,Japan Sculpture Japonaise Contemporaine, Galerie Jullien-Cornic, Paris, France

1983 Figure of Wood and Esprit, Saitama Prefectural Museum, Tokyo,Japan

1981 Turning Point of Contemporary Art of 1960’s, National Museum of Modern
Art, Tokyo, Japan; traveled to the National Museum of Modern Art, Kyoto, Japan Modern Japanese Sculpture, Kanagawa Prefectural Museum of Modern Art, Kanagawa, Japan

Japanese Contemporary Art, The Korean Culture and Arts Foundation, Seoul, Korea
The 1960’s: A Decade of Change in Contemporary Japanese Art, National Museum of Modern Art, Tokyo, Japan

1980 History of Contemporary Sculpture, Kanagawa Prefectural Hall Gallery, Kanagawa, Japan

1977 Japan Art-Festival, Tokyo Central Museum, Tokyo, Japan Voices in the Modern Age

Tokyo Gallery Exhibition, Tokyo Gallery, Tokyo, Japan

1976 10th International Biennale Exhibition of Prints in Tokyo, The National Museumof Modern Art, Tokyo, Japan

1975 Contemporary Art Exhibition from 1950 to 1975, Central Museum, Tokyo, Japan

1974 Two-Man Show with Kuniichi Sima, Gallery Coco, Kyoto, Japan 11th Tokyo Biennale, Tokyo, Japan

Contemporary Sculpture Exhibition of 20 Artists, Tokyo Central Museum, Tokyo, Japan
Japan Art Exhibition, Germany
Contemporary Sculpture Symposium, Tochigi Prefectural Museum of Fine Arts, Japan

1973 8th Japan Art-Festival, Tokyo, Japan
11th Contemporary Art Exhibition of Japan, Tokyo Metropolitan Art Museum, Tokyo, Japan

1971 10th Contemporary Art Exhibition of Japan, Tokyo Metropolitan ArtMuseum, Tokyo, Japan

Tokyo Gallery 1971, Tokyo Gallery, Tokyo, Japan

1970 Art Exhibition of World EXPO 1970, Suita, Osaka, Japan 35th Venice Biennale, Venice, Italy

Human Documents ’70-3, Tokyo Gallery, Tokyo, Japan

1969 6th Paris Biennale, Paris, France
9th Contemporary Art Exhibition of Japan, Tokyo Metropolitan Art Museum, Tokyo, Japan
1st International Contemporary Sculpture Exhibition, Hakone Open-Art Museum, Tokyo, Japan
9 Visual Points, Muramatsu Gallery, Tokyo, Japan
Tricks & Vision: Stolen Eyes, Tokyo Gallery, Tokyo, Japan
Trend of Japanese Contemporary Art, National Museum of Modern Art, Kyoto, Japan
Japanese Artist Drawing, Tokyo Gallery, Tokyo, Japan

1968 OOXPLAN, Muramatsu Gallery, Tokyo, Japan
8th Contemporary Art Exhibition of Japan, Tokyo Metropolitan Art Museum, Tokyo, Japan
1st Contemporary Sculpture Exhibition, Suma Palace Park, Kobe, Japan 5th Exhibition, Museum of Contemporary Art, Nagoya, Japan

1967 Two-Man Show, Tsubaki Kindai Gallery, Tokyo, Japan 11th Shell Art Exhibition, Tokyo, Japan

OOOPLAN, Muramatsu Gallery, Tokyo, Japan Universiad, Tokyo, Japan

Bibliography

Catalogues and Monographs

2013 Atkins, Robert. Artspeak: A Guide to Contemporary Ideas, Movements, and Buzzwords, 1945 to the Present. New York: Abbeville Press, 2013.

2012 Ends of the Earth: Land Art to 1974. Los Angeles: Museum of Contemporary Art, 2012.

Mono-ha Artists and the Era. Toyama: Rakusui-tei Museum of Art, 2012. Yoshitake, Mika. Requiem for the Sun: The Art of Mono-ha. Los Angeles: Blum & Poe, 2012.

2011 Monogatari: Nobuo Sekine Arts Exhibition 1970-2011. Shanghai:Shanghai People’s Fine Arts Publishing House, 2011.

2008 Sekine Nobuo. China: Pyo Gallery, 2008.
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Yukihito Tabata, and Hozu Yamamoto. Tokyo: Tokyo Gallery + BTAP,2007. 2006 Sekine, Nobuo. Fukei no yubiwa. Tokyo: Tosho Shinbun,2006.

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1996 Isō-Daichi no kōkogaku (Archaeology of Phase-Mother Earth). Nishinomiya: Ōtani Memorial Art Museum, 1996.

Sekine, Nobuo, Masahiro Shino. “Iso, daichi” no kokogaku. Nishinomiya, Japan: Otani Memorial Museum of Art, 1996.

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PARCO Shuppan, 1985.

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Ōtagaki Minoru. “Art shin ko ima kyouto no jikū ni asobu 3 sekine nobuo ‘isō daichi’ to ginkakuji to kogetsudai, jyō” (Art new, old and now playing in Kyoto space-time: Sekine Nobuo and Ginkakuji, Kogetsudai, vol. 1). Kyoto shinbun,
July 3, 2004.
Ōtagaki, Minoru. “Art shin ko ima kyouto no jikū ni asobu 3 sekine nobuo ‘isō daichi’ to ginkakuji kogetsudai, jyō” (Art new old and now playing in Kyoto space- time: Sekine Nobuo and Ginkakuji, Kogetsudai, vol. 1). Kyoto shinbun, July 10, 2004.
Sugawara, Norio. “Kinyō koramu nankai? Na gendai bijutsu, mijika ni kanjiru kokoromi” (Friday column impenetrable? Contemporary art attempts at familiarity). Yomiuri shinbun (evening ed.), January 16, 2004.
Sumi, Akihiko. “Tokushū nihonn kingendai bijutsushi 1905-2005: Lee Ufanjidai
to kokkyō wo koeta ‘deai’ wo motomete” (Japanese modern art history 1905- 2005: Lee Ufan seeking encounters beyond history and borders). Bijutsu Techō, July, 22-31, 2004.
Sumi, Wakio. “’Isō Daichi’ sai-sēisaku 2003 shimatsuki” (Revisiting ‘Phase
Mother Earth’ document 2003). National Museum of Art, Osaka, no. 138 (March 2004): 3.

2002 “Cover Hero: Environmental Artist 20 Sekine Nobuo.” Bien, no. 20 (2002):4-9. Mita, Haruo. “Bijutsu Sekine Nobuo ten toshi kūkan to kakawaruniwa” (In orderto engage with urban space). Mainichi Shinbun, April 21, 2002.

Sasaki, Hiroko, Sekine Nobuo, Hamada Gōshi. “Talk Sairoku Sasaki HirokoX Sekine Nobuo uchinaru iro uchinaru katachi kaiga to chōkoku wo meguru orijinarityi no yukue” (Re-recording Talk Sasaki Hiroko X Sekine Nobuointernal color internal form the future of originality in painting and sculpture). Bijutsu Techō (December 2002): 151-153.

Sawaragi, Noi. “Tokubetsu teisai sensō to banpaku kanketsuron zenpen mō hitotsu no sensō bijutsu sokoniwa itsumo ga atta” (Special article thewar and the world’s fair conclusion part one the other wartime art there were always ‘rocks’ there). Bijutsu Techō (August 2002): 147-159.

Tsuchiya, Seiichi. “Dai 12 kai gēijutsu hyōron boshū nyūsensaku happyo

nakushita monono arika wo megutte Saito Yoshishige, 1973, saisēsaku” (12th art criticism competition selection honorable mention on the whereabouts ofthings lost Saito Yoshishige reproduction). Bijutsu Techō (May 2002):152-159.

2001 Cowan, Amber. “The Five Best Shows Nationwide: Mono-ha: School ofThings.” Times (London), February 6, 2001.

Kumagaya, Isako. “Enokura Kōji ‘kabe’ sakuhin wo chūshin ni” (Centering around Enokura Koji’s ‘wall’ piece). Museum of Contemporary Art Tokyo Bulletin, no. 6 (2001): 23-28.
Reed, Robert. “How Mono-ha shocked the world.” Daily Yomiuri, April 19, 2001. Safe, Emma. “Mono-ha – School of Things.” Art Monthly, no 248 (July-August 2001): 34-35.
Sekine, Nobuo. “Saito Yoshishige wo otono nai hakushu de okutta” (Wegave Saito Yoshishige a silent round of applause.” Aida (October 2001): 6.
“Zenēi bijutsu no nihon Matsuri no zenya” (The avant garde’s Japan the evening before the festival). Bijutsu Techō (October 2001): 93.

1999 Reed, Robert. “Terror in the Bronze.” Winds (January 1999):30-32.

1997 Chiba, Shigeo. “Tsuitō Yoshida Katsuro mirukoto no hirogari” (Inmemoriam Yoshida Katsuro the expanse of looking). Hanga gējutsu, no. 106 (1997): 98-103. Sawaragi, Noi. “Rensai nihon gendai bijutsu dai 7kai ‘monoha’ towa nanika” (Series Japanese contemporary art part 7 what is ‘monoha’). Bijutsu Techō (January 1997): 163-183.

Suzuki Kenshi. “Ki ga ringo kara ochiru kokuritsu kokusai bijutsukan ‘jūryoku sengo bijutsu no zahyōjin’ ten” (The tree falls from the apple: National Museum of Art, Osaka exhibition “Gravity coordinates of post-war art”). Bijutsu Techō (January 1997): 188-193.
Tani Arata, Mita Haruo, Sugawara Norio, and Takashima Naoyuki. “Nihon-teki hyōgen kūkan to insutarēshon” (Japanese spatial expression and installation). Bijutsu Techō (November 1997): 80-96.

1996 Hyōgyoku, Masahiko. “Gendai bijutsushi no ‘jiken’ ou ‘bijutsu no kōkogaku’ten” (An “incident” in contemporary art). Nihon keizai shinbun, July 10, 1996.
Shiraki, Midori. “Tenhyō Bijutsu no kōkogaku—zenēi bijutsu no nijikensaikenshō” (The archeology of art—re-evaluating two incidents in the avant garde). Nihon Keizai Shinbun (Osaka ed.), July 5, 1996.

Sugawara, Norio. “Torendo in bijutsu aitsugu ‘sengo’ kikaku kenshō womeguru taishō-teki shuhō” (Trends in art: a string of ‘post war’ shows contrast methodology in their examination). Yomiuri shinbun, July 10, 1996.
Tanaka, Sanzōu. “Mono no ninshiki saguru sugata ‘Enokura Koji isaku’ ten to ‘bijutsu no kōkogaku’ ten (bijutsu)” (The state of searching for theunderstanding

of things exhibits ‘posthumous works by Enokura Koji’ and the ‘archeology of art’). Asahi Shinbun, June 27, 1996.

1995 “Biji-shūi 1970nen Bushitsu to chikaku monoha to kongen wo tou sakka tachi” (Gleaning/re-examining good things 1970 Material and perception mono-ha, artists who interrogate origin). Bijutsu Techō (March 1995): 148.
Hyōgyoku Masahiko. “Bijutsu no ashimoto wo tou tamemi, ‘1970nen—bushitsu to chikaku’ ten” (Questioning the foundation of material, exhibition “1970—material and perception”). Nihon keizai shinbun, Novermber 9, 1995.

Jacob, Mike. “The Hole and its Parts: Sculptor pursues ‘Special MentalState’” Daily Yomiuri, January 1995.
Koshimizu, Susumu. “Tokubetsu kiji shōgen monoha ga kataru monoha nokoto Yami no naka e kieteiku mae no yabu no naka e.” Bijutsu Techō (May1995). Lee, Ufan. “Tokubetsu kiji shōgen monoha ga kataru monoha kigen matawa monoha no koto” (Mono-ha talks mono-ha the origin, or about mono-ha). Bijutsu Techō (May 1995): 255-258.

Ōi, Kenji. “Exhibition Review” Bijutsu Techō (August 1995): 173.
Sekine Nobuo. “Tokubetsu kiji shōgen monoha ga kataru monoha no koto seishun to dōgigo no monoha to genzai (ima)” (The youth and synonym of mono- ha and the present (now)) Bijutsu Techō (May 1995): 261-263.
Yoshida, Katsuro. “Tokubetsu kiji shōgen monoha ga kataru monoha no koto chottoshita chigai ga zōfuku sarete” (Mono-ha talks mono-ha: little differences that multiply). Bijutsu Techō (May 1995): 258-260.

1993 Minemura, Toshiaki, and Sumi Akihiko. “Monoha no keisei wo meguttezenpen” (On the formation of mono-ha). Bijutsu Techō (July 1993): 182-205.
Minemura Toshiaki, and Sumi Akihiko. “Monoha no keisei wo meguttekōhen” (On the formation of mono-ha). Bijutsu Techō (August 1993): 170-181.

1990 Sekine, Nobuo. “Rensai essei watashino katachi katachi narazaru katachi” (My form: Form that is not form). Hanga gēijutsu, no 69 (1990): 145.

1989 Haruo, Sanada. “The Japanese Contemporary Exhibition in Belgium.” Mainichi Daily News, Aug 24, 1989.

Yonekura Mamoru. “Suzuki Minoru chōkoku ten to sekine nobuo shinsakuten” (Sculptures by Sumi Akihiko and new works by Sekine Nobuo). Asahi Shinbun, June 9, 1989.

1987 Akita, Yuri. “Exhibition Monoha to posuto monoha no tennkai ‘nihon bijutsu’wo meguru futatsu no ‘chikara’ 1969nen ikō no nihon no bijutsu” (Exhibition: The evolution of Monoha and post-Mono-ha, two forces in Japanese art: Japanese art after 1969). Bijutsu Techō (September 1987): 189.

Fujita, Yaeko. “Kikikaki, garōjin, sakura no obachan (10).” Bijutsu Techō (January 1987): 98-99.
Inui, Yoshiaki, Sakai Tadayasu, Tōno Hōmei, and Yonekura Mamoru. “Zadankai bijutsu kihyō ’87aki “‘mono-ha to posuto mono-ha no tennkai’ ten hoka” (Round table talk, seasonal review, Fall ’87 “the evolution of Mono-ha and post-Mono-ha” et al.). Mizue (Fall 1987): 86-101.

Lee, Ufan. “Tokubetsu kikō mono-ha ni tsuite.” (Special article onMonoha). Mizue (Fall 1987): 102-105.
Lee, Ufan, Takubo Kyōji, Okazaki Kanjirō, Minemura Toshiaki Kanjirō, Minemura Toshiaki, and Chiba Shigeo. “Sairoku shinpojiumu kimihananiwoshitekitaka gekironn 70~80nendai no genndai bijutsu” (Re-recording Symposium: whathave

you been doing? Heated discussion on contemporary art from the 70s and 80s). no. 1, 2, 3, 4, Seibu geijutsukan geppō, myūjiamu repōto, vol. 8, 9, 10,11.
Millet, Catherine. “Tokushū Ponpidū no ‘zenēi geijutsu no nihon 1910-1970’ten, watashitachi no yumemita radikalizumu kikan fukanō na jiten to shite” (“Japon des avant-gardes, 1910-1970” at the Pompidou, the radicalism we dreamed of as the point of no return). Bijutsu Techō, (April 1987): 144-151.

Minemura, Toshiaki. “Wadai Pari, ponpidū centā ‘zenēi geijutsu no nihon1910- 1970’ ten no shinsō geijutsu no kihon wo machigaetewa imasenka” (The truth behind “Japon des avant-gardes, 1910-1970” at the Pompidou Center, Paris. Could you be misunderstanding the basis of art?) Art, no. 119 (1987): 70-72. Shiraga, Kazuo and Chiba Shigeo. “Shiraga Kazuo ga kataru” (Shiraga Kazuo speaks). Geijutsu hyōron (August 1987): 5-20.

1978 “Nobuo Sekine.” Louisiana Revy, 19, no. 1 (August 1978): 18-23.(translated sections of the Kunsthalle Dusseldorf catalog).

1975 Yasui, Shūzō. “Sekine Nobuo shōron. Kono <isō> no shitsuyō natankyūsha” (Short essay on Sekine Nobuo. A tenacious investigator of this “phase”). Hanga geijutsu (Print arts), no. 11 (1975): 142-48.

1973 Yasui, Shūzō. “Sekine Nobuo e no tegami” (A letter to Sekine Nobuo). Kindai kenchiku, June 1973.

Minemura, Toshiaki. “Geijutsu jānaru: Sekine Nobuo koten” (Art journal:Sekine Nobuo solo exhibition). Obararyū sōka, June 1973.

1972 Haryu, Ichiro. “Dialogue number 31: Sekine, Nobuo, Interviewer Haryu, Ichiro.” Mizue 9-10, no. 812 (1972): 84-101.

1971 Ufan, Lee. “Chokusetsu genshō no chihei ni (Sekine Nobuo ron)” (From the horizon of a direct phenomenon [On Sekine Nobuo]). Pts. 1 and 2. SD, no. 74 (December 1970); no. 75 (January 1971).

1970 Ōkubo, Takaki. “Sekine Nobuo no kūsō” (Sekine Nobuo’s phase ofnothingness). Kai, March 1970.

1969 Ōkubo, Takaki. “Sonzai to mu o koete-Sekine Nobuo ron” (Beyond beingand nothingness – On Sekine Nobuo). Sansai, June 1969, 51-53.

1968 Yūsuke, Nakahara. “ no episode” (The episode of the“dirt sculpture”). Geijutsu shinchō, December 1968, 43.

Public Collections

Hakone Open-Air Museum, Hakone, Japan
Hara Museum, Tokyo, Japan
Hiroshima Contemporary Art Museum, Hiroshima, Japan
Kanai Museum, Hokkaido, Japan
Kawagoe City Art Museum, Saitama, Japan
Louisiana Museum, Denmark
Museum of Contemporary Art, Nagaoka, Japan
National Museum of Art, Osaka, Japan
National Museum of Modern and Contemporary Art, Gwacheon, Korea Peter Stuyvesant Foundation, Amsterdam, Holland

Prefectural Museum, Gunma, Japan
Prefectural Museum, Omiya, Saitama, Japan Prefectural Museum, Tochigi, Japan
Riijksmuseum Kroller, Otterlo, Holland
Seibu Museum, Tokyo, Japan
Setagaya Art Museum, Tokyo, Japan
Sonji Henie-Nils Onstad Culture Center, Oslo, Norway Takamatsu Museum of Art, Kagawa, Japan
Toyota Municipal Museum of Art, Toyota, Japan Yokohama Business Park, Yokohama, Japan

Awards

1969 Concour Prize, 1st International Contemporary Sculpture Exhibition,Hakone, Japan

Prize Group Work, 6th Paris Biennale, Paris, France

1968 Concour Prize, 8th Contemporary Art Exhibition of Japan, Tokyo, Japan
Asahi Newspaper Prize, Contemporary Sculpture Exhibition, Suma Palace Park, Kobe, Japan
First Prize, 5th Exhibition, Museum of Contemporary Art, Nagaoka, Japan

1967 Commendatory Prize, 11th Shell Art Exhibition, Tokyo, Japan

JANET TAYLOR PICKETT, ZHANG HONGTU, PINK and THE CORPSES 

Oct 5 – 31, 2023

Zhang Hongtu at Museo Picasso Málaga

October 3, 2023 - March 31, 2024

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

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

VAN GOGH / BODHIDHARMA

Zhang Hongtu

March 25 - April 27, 2022

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

February 17, 2022

LOVE DIFFERENCE

Eric Brown, Janet Taylor Pickett, Zhang Hongtu

May 15 - June 15, 2021

Categories: exhibitions

Tags: Nobuo Sekine Zhang Hongtu

PERFORMATIVE

February 13, 2019

Baahng Gallery is pleased to announce Performative, a group exhibition, featuring works by Brian Dailey, Miryana Todorova and Rae BK. Performative elements are essential to their works; this exhibition is a cross section of their oeuvre showcasing selected paintings, sculptures, and a media work.

Washington D.C. based artist Brian Dailey presents a single channel video, Jikai, shown on multiple synchronized monitors as a featured video in the Times Square Midnight Moment series, making an allusion to Shakespeare’s line in The Merchant of Venice. The moth in Jikai is a metaphor for political systems and its fluttering around a light bulb is a meditation on political disintegration.

Lives and works between Sofia and New York, Miryana Todorova questions politics of public space and how people occupy it. On view includes works from series of Foreign Body and Movables. Temporary structures in transit set up new ways of perception and geometry. With shifting grounds and no solidity, the work continuously involves every layer becomes a reaction to the transformation of a physical and spatial encounter: Negotiation becomes the infrastructure, no arrangement is accidental and no order is fixed, resulting a hybrid structure shaped by vulnerability.

Brooklyn artist, painter and sculptor, RAE -BK, showcases an assemblage made up of smashed-up bits and found objects welded together as mangled sculpture. His works are feats of random engineering combining things like metal grates, goggles, and chipped-off box fan blades, seemingly emotive human figures. RAE as a street artist creates lively and chaotic frescoes that manage to blend into urban environment eventuating fantastical and anarchical installations.

A group exhibition

July 17 – August 15, 2018

Artists in the exhibition

Brian Dailey

Miryana Todorova

Rae-BK

Categories: exhibitions

Tags: Brian Dailey Miryana Todorova Rae-BK

NAOMI SAVAGE

April 28, 2020

Unexplored Limits

April – June, 2020

Naomi Savage was a highly innovative photographer, who regarded the darkroom as a laboratory where she could invent new and exciting techniques that began with photography but expanded the capability of the medium to new and previously unexplored limits. She was the niece of Man Ray and studied with him for a brief period in Hollywood, California. It was he who taught her that photography had no boundaries. “The darkroom,” he told her, “was a place to make fearless tries at whatever images came to mind.” She followed that advice throughout her career, being the first to display metal-plate photoengravings (customarily used as a means by which to make prints) as finished works of art, thereby causing the very medium of photography to be redefined. She first showed her work in the 1950s and 1960s in group exhibitions at the Museum of Modern Art in New York and was represented in the 1970s to mid-1980s by the prestigious gallery of Lee Witkin in New York City. Her work can be found in some of the most distinguished museums and art institutions in the United States: The Museum of Modern Art, New York, The Art Institute of Chicago, The Princeton University Art Museum, The Center for Creative Photography in Tucson, Arizona, etc. When digital photography emerged in the 1990s, Savage embraced it completely, considering it as a new and revolutionary means by which to engage in an even greater diversity of experimentation. The influence of Man Ray appears throughout her work, both formally, thematically and conceptually, as she fully embraced his position that art follows no rules and is without limitation, thereby, in the case of Naomi Savage, resulting in a range of work that stretched the limits of photography.

Due to the ongoing situation with COVID-19, Baahng Gallery is postponing upcoming exhibitions and programs. In the meantime, we will be providing series of online exhibitions and announcements. For information about the exhibitions or the works, please contact us at inquiries@baahng.com

Biography

Naomi Savage, photographer, born June 25, 1927 and died at her home in Princeton, New Jersey, on November 22, 2005. While still in high school, she took a class in photography at the New School for Social Research with Berenice Abbott. Some twenty years earlier, Abbott had studied photography in Paris with Man Ray, who was Naomi Savage’s uncle. In 1946, Savage enrolled in Bennington College, where she studied art and music, but before graduating, left to be an apprentice for Man Ray in Hollywood. He taught her that photography was above all a creative process, one of many tools that could be used for the purpose of visual expression. When she returned to New York in 1948, she combined her love of music with her skill in photography by taking portraits of the best known composers of day: Aaron Copland, John Cage, Virgil Thomson, etc. (over 30 in all). Throughout her career, she experimented with the medium of photography, continuously inventing new and highly original techniques. Perhaps her best known work is a series of metal photo engravings (1972) dominating the walls of the LBJ Library in Austin, Texas. In her later years, she became attracted to the enormous potential of digital imagery, experimenting with various methods to manipulate and enhance color, even using new and unconventional materials for laser printing. She exhibited widely, most recently at the Montclair Art Museum, and her photographs are included in major institutional collections throughout the United States……………..provided by Francis M. Naumann.

Francis M. Naumann is an art historian, who specializes in art of the Dada and Surrealist period. He has written extensively on the art of Marcel Duchamp and Man Ray. His New York Dada 1915-23 (1994) is considered the definitive history of the movement, and his “Making Mischief: Dada Invades New York” (1996) is the most comprehensive exhibition on the subject ever assembled. His doctoral dissertation was on Man Ray’s early years in New York, later published as Conversion to Modernism: The Early Work of Man Ray (2003). Throughout his years of his research on Man Ray, he met Naomi Savage and, over the years, they became good friends.

NAOMI SAVAGE

Unexplored Limits

April - June, 2020

Categories: exhibitions

Tags: Naomi Savage

MAN RAY

April 20, 2020

April – June, 2020

A l’Heure de l’observatoire—les amoureux, 1970 depicts Man Ray’s most famous painting, A l’Heure de l’observatoire—les amoureux, 1932-34: a pair of enormous female lips detached from a visage and floating mysteriously over the city of Paris. They were the lips of Lee Miller, Man Ray’s lover who left him just before he embarked upon the painting of this picture and, thus, historians have understood it to serve as his memorial to her or his personal purgative of loss. Whatever its motive, with this one image Man Ray has succeeded in capturing the essence of Surrealism: an image displaced from its natural environment and placed within a magical setting, while at the same time evoking the depiction of a dream.

Biography

Painter, sculptor, photographer, filmmaker, draftsman…Man Ray has never limited himself to a single medium of artistic expression, tirelessly seeking new possibilities of creation or diversion of existing techniques. Considering art essentially as a game, he refused to attach himself to a determined style. Man Ray was born in 1980 in Philadelphia. In 1913, he discovered at the exhibition The Armory Show in New York European artists like Marcel Duchamp and Francis Picabia. With Marcel Duchamp he created and experimented with optical devices to study motion. He participated in the Dada movement in New york until 1921, when he left for France. As he arrived in Paris, Marcel Duchamp introduced him to the Parisian artistic scene. It was the beginning of an intense period of creation: photographs (fashion, portraits, art), exhibitions, films…In the interwar period Paris, Man Ray frequents all the greatest actors of creation, Dadaists, Surrealists, writers, filmmakers, fashion designers…In 1940, Man Ray had to leave France for the United States, where he realized major works like the Shakespearian paintings, etc. Man Ray returned to Paris in 1951, moved to rue Ferou where he painted, drew, wrote his memoirs and continued to use photographic processes. Thus begins the edition of his objects “Objects of my affection” first with Marcel Zerbib, then with Arturo Schwarz. Man Ray died on November 18, 1976 in Paris. He is buried in the Montparnasse cemetery.

…………………………………………. excerpt from Man Ray International Association

Mathematical Object (Anthony) is one of some twenty photographs taken by Man Ray in 1934-35 of mathematical models located in the Institut Poincaré in Paris. Twelve of the photographs were featured in a 1936 issue of the journal Cahiers d’Art devoted to the “object” and four were exhibited in MoMA’s exhibition the same year, Fantastic Art, Dada, Surrealism. The models were drawn to his attention by Max Ernst, who had discovered them and thought them exceptionally provocative, surreal shapes. The models were used to render complex mathematical formulae into three-dimensional form, but it was not their origin in mathematics that attracted the interests of Man Ray. “The formulas accompanying them meant nothing to me,” he later explained, “the forms themselves were as varied and authentic as any in nature” (Self-Portrait, 1963, p. 368). While living in Hollywood, California, in the 1940s, Man Ray used the photographs he had taken in the Institut Poincaré as the basis of a series of pictures that he grouped under the title “The Shakespearean Equations,” which, in true Dada and Surrealist fashion, had as little to do with Shakespeare as they did with equations. Man Ray retrieved the photographs he had printed in the 1930s on a trip back to Paris in 1947, and this example is believed to be among them. This particular print is often titled Antony, as we know that it was used as the basis for the figure of Anthony in his painting Antony and Cleopatra, 1948.

MAN RAY

A l’Heure de l’observatoire—les amoureux

April - June, 2020

MAN RAY

April - June 2020

Categories: exhibitions

Tags: Man Ray

SOPHIE MATISSE

April 1, 2020

Be Back In 5

April – June, 2020

……………..In the persuasive likenesses of well-known paintings, but all rendered without any living thing in them; The Mona Lisa without Mona; Velazquez’ Las Meninas as a vast empty room, Sophie produced some 20 paintings in all. Completely denuded of their human inhabitants by Jan Vermeer, Pablo Picasso, Claude Monet, Edgar Degas, Jean-August-Dominique Ingres, Claude Monet, Winslow Homer, including by Gustave Courbet, Paul Gauguin, Edward Hopper, Charles Willson Peale, — most notably — her great- grandfathers, Marcel Duchamp and Henri Matisse……………………..

SECRET GARDEN

Sophie Matisse

May 15 - June 30, 2021

SOPHIE MATISSE

MORE THAN ONE WAY HOME

Sophie Matisse
Janet Taylor Pickett
Zhang Hongtu

October 10 - November 24, 2020

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

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

SOPHIE MATISSE

Be Back in 5

April - June, 2020

SOPHIE MATISSE

Categories: exhibitions

Tags: Sophie Matisse

JANET TAYLOR PICKETT

April 1, 2020

Mappings of Memory

April – June, 2020

……………………….“Throughout my development as an artist, I began to recognize ‘home’ to be a metaphor; an idea for finding my visual voice. The ‘home’ of personal geography, the self-landscape of memory revealed, become the journey from which the artworks in this exhibition have been created.”……………………………………….

JANET TAYLOR PICKETT

February - March, 2025

Janet Taylor Pickett in the Traveling Museum Exhibitions

September 21, 2024 - August 2026

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 interviews Janet Taylor Pickett: History and Artistry

September 25, 2023

JANET TAYLOR PICKETT, ZHANG HONGTU, PINK and THE CORPSES 

Oct 5 – 31, 2023

Janet Taylor Pickett is featured at the Denver Museum

November 12, 2023 - March 3, 2024

PICASSO, WELCOME TO AMERICA

June 15 – Sept 27, 2023

Categories: exhibitions

Tags: Janet Taylor Pickett

ZHANG HONGTU: I DARE TO MATE A HORSE WITH AN OX

September 19, 2019

Baahng Gallery is pleased to present I DARE TO MATE A HORSE WITH AN OX, the gallery’s inaugural solo exhibition of the highly celebrated works of Zhang Hongtu, a Chinese-born, New York-based artist and forerunner of the Chinese “Political Pop” art movement. The exhibition will be on view at the gallery from September 27 through November 8, with an opening reception with the artist to be held on Friday, September 27, from 6 to 8 pm.

To dare to mate a horse with an ox is to dare to break down the zygotic barriers that maintain the separation of species. This notion of doing the impossible and breaking down barriers has been the lodestar of Zhang Hongtu’s life and five decade-long career. As a Muslim outsider in China, then as a Chinese exile in America, through his works, he has continually sought 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. While each work captures and contemplates a multi-layered discourse on competing ideas, the exhibition as a whole unexpectedly proposes universality and relevancy.

I DARE TO MATE A HORSE WITH AN OX highlights selected works from Zhang’s series Shansui, Political Pop, and Van Gogh/Bodhidharma. Van Gogh/Bodhidharma consists of 39 ink paintings created over the course of seven years, 2007-2014. They are the Van Gogh “self-portraits” merged into the style of the classical Zen portraits of Buddhist monk Bodhidharma. His morphing of Van Gogh and Bodhidharma into one is a remarkable display of the artist’s masterful ability to dissolve distinctions between two icons. Also on view are: Bada! Bada!!-11, #2, 2011, a lopsided map of China facing a mob of angry fish; Walking Monkey, 2016, a warning on a disrupted ecosystem; Landscape, Out of the Focus, 2011, a questioning of the assumption of near-sightedness; Long Live Chairman Mao Series, 1987-1995; Zodiac Figures, 2002; Mai Dang Lao, 2002; and Six-Pack of Kekou-Kele, 2002.

Zhang Hongtu was born in Gansu, China, in 1943. He attended the Central Academy of Arts and Crafts in Beijing 1964-1969, moved to New York in 1982, and attended Art Students League 1982-1986. Selected solo exhibitions include at Queens Museum, Marianna Kistler Beach Museum of Art, Kansas, the Connecticut College Charles E. Shain Library, The Bronx Museum of Fine Arts, Kaohsiung Museum of Fine Arts, Taiwan. Selected group exhibitions at Solomon R. Guggenheim Museum, Metropolitan Museum of Art, Museu Picasso, Spain, Brooklyn Museum, Wexner Center for the Arts, Ohio, Princeton University Art Museum, Israel Museum, Louisiana Museum of Modern Art, Denmark, El Museo Nacional de Bellas Artes, Cuba, The Hall for Contemporary Art, Hamburg, Germany, Kunst und Ausstellungshalle der Bundesrepublik Deutschland, Bonn, Germany, and Taipei Fine Arts Museum, Taiwan.

ZHANG HONGTU

I DARE TO MATE A HORSE WITH AN OX

September 27 – November 16, 2019

Opening reception with the artist

6-8pm, Friday September 27

Artist Talk on Van Gogh/Bodhidharma: 1-3pm, Saturday November 16

JANET TAYLOR PICKETT, ZHANG HONGTU, PINK and THE CORPSES 

Oct 5 – 31, 2023

Zhang Hongtu at Museo Picasso Málaga

October 3, 2023 - March 31, 2024

PICASSO, WELCOME TO AMERICA

June 15 – Sept 27, 2023

Zhang Hongtu is featured at the Asia Society in Texas

February 10 - July 2, 2023

PITCHES & SCRIPTS

Group Exhibition

January 20 - March 11, 2023

Zhang Hongtu lectures and exhibits at the Wende Museum

November 13, 2022 - March 12, 2023

TANGO

Summer Exhibition

July 13 - August 17, 2022

VAN GOGH / BODHIDHARMA

Zhang Hongtu

March 25 - April 27, 2022

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

February 17, 2022

LOVE DIFFERENCE

Eric Brown, Janet Taylor Pickett, Zhang Hongtu

May 15 - June 15, 2021

Categories: exhibitions

Tags: Zhang Hongtu

VERTIGO

July 6, 2019

Vertigo

Works on Paper

July 19 – August 23, 2019

By Appointment

Romare Bearden

Lisa Beck

Joseph Beuys

Carol Bove

Mario Merz
Nobuo Sekine

Josh Smith

Pat Steir

Bob Thompson

William Majors
Zhang Hongtu

Categories: exhibitions

JACK SAL: Re/Vision

May 23, 2019

ZONE: CONTEMPORARY ART begins 2009 with “Jack Sal: Re/Vision,” a long overdue exhibition for a multi-faceted artist. His work appears in the many permanent collections, including the Museum of Modern Art and the International Center of Photography in New York City, the Stedelijk Museum in Amsterdam and the Museum Moderner Kunst in Vienna. He is a respected figure in Europe, where he has mounted a series of remarkable site-specific installations. He has collaborated with William Wegman and Sol Lewitt and exhibited along side Sigmar Polke and Nan Goldin. But Sal’s work remains largely unfamiliar to the American public.

ZONE is presenting a cross section of Sal’s work, including a chapel-like space of large-scale paintings, using gesso and silk surgical tape, created specifically for this installation. Minimalist yet profoundly humanistic, his work has a handmade look, which carries over into a group of smaller paintings and works on paper.

Sal is intensely aware of the temporal dimension of his work, in general, and this exhibition, in particular. He sees this new year as a “moment when the demarcation of change is upon mankind….” and it is the engagement of culture with such conditions that make up the conceptual language of the works created for Re/Vision. These art works refer to their own making and ultimately refer to the tabula rasa of this very important moment. Temperamentally, he has much in common with Terry Riley, the composer of seminal works of musical minimalism such as the serenely joyous “In C”. Like Riley, an unassuming figure who never crossed over into mainstream success, Sal works with pared-down idioms, avoiding epic emotions and climaxes, and finding lyrical grace in repetition on an intimate scale. In “Minor/Key” Sal makes an oblique musical reference, isolating an ebony piano key and enshrining it in a box.

While he sees marking as a basic artistic act, Sal also incorporates the natural processes inherent in some of his materials. A celebrated photographer, he uses photo-printing paper to capture light and has revived the cliché-verre technique used by nineteenth-century pioneers in the medium. He slices lead plates and allows them to weather naturally: the veining coalesces into landscape-like patterns. These small, square panels provide a dark counterpoint to the predominantly white works in the exhibition. Using a relatively simple palette, Sal explores a wide range of materials and ideas, offering a fresh vision of the art experience

JACK SAL: Re/Vision

January 22 – February 28, 2009

Opening reception

6-8pm, Thursday January 22

SPOTLIGHT

A conference in conjunction with Jack Sal’s solo exhibition, De/Portees, a multiscreen projection in memory of the Italian Deportees, at The Italian Cultural Institute in New York

February 4th, 2010

Panelists:

Writer and journalist Alessandro Cassin

Art historian and curator Lyle Rexer

Artist Jack Sal

De/Portees

A multi screen projection in memory of the Italian Deportees

by Jack Sal

January 27-Febuary 27, 2010

Opening: Wednesday, January 27th, 2010 at 10:00 a.m.

The Italian Cultural Institute/Istituto Italiano di Cultura

686 Park Avenue Ave New York, NY 10021

Making use of video/computer projectors and monitors, De/Portees uses as its contents the geographical location of the Italian camps used for detention, imprisonment and points of transfer to Nazi Concentration Camps located throughout the German occupied territories. Apart from the best-known camp, located in Fossoli-Carpi (Emilia Romagna), hundreds of other locations were used as part of the chain in the mechanism to gather, arrest and deport Italian citizens, and deliver them to their fate.

Two projections and a monitor will be located within the gallery space of the exhibit to create a quality of “displacement” and to reveal the extent of the number of places and persons directly touched by the deportation. The first projection reveals a computer generated list of the locations of camps throughout Italy using yellow type on a black background. The second projection includes a computer generated list of the hometowns & villages of the deportees, located throughout Italy, using blue type on a black background. The monitor displays a video of the published pages of the list of the deportees from throughout Italy with a soundtrack of an English (for New York) and an Italian text by Primo Levi.

The popular myth is of an Italy reluctantly and without much effort or organization collaborating under duress with their German/Nazi allies. The number of Italian camps and the quantity of people deported and arrested dispels the idea of lack of responsibility and brings together the evidence of location of the camps “sotto casa” in Italy. Using the extreme corners of the space, the viewers’ sense of orientation is linked to the three “images” of names, places and the book of the list, pressing the association of the deportation with its roots in Italy.

From the 7th to the 30th April 2010 De/Portees. A multi screen projection in memory of the Italian Deportees by Jack Sal will be exhibited at the Casa della Memoria e della Storia in Rome.

JACK SAL: Re/Vision

January 22 - February 28, 2009

Categories: exhibitions

Tags: Jack Sal

JENNIFER BAAHNG

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