Jaye Moon 2025 NYFA Hall of Fame Inductee
NYFA’s 2025 Hall of Fame Benefit will be held on Tuesday, March 18, at Gotham Hall to celebrate the notable work of NYFA Artist Honorees Jaye Moon and JT Rogers, alongside Patron of the Arts and Partner at Makeable LLC, Cristina Enriquez-Bocobo, and Commissioner Laurie Cumbo, NYC Department of Cultural Affairs, for their inspiring contributions to the arts.
Since the 1990s, Jaye Moon has been crafting interactive braille paintings using LEGO bricks. Moon has used LEGO as an artistic medium to create works emphasizing inclusivity and tactile engagement. In particular, her LEGO braille paintings demonstrate her innovative approach to accessible art. Her work has been exhibited at institutions including the Brooklyn Museum, the Queens Museum in New York, the Nam June Paik Art Center, the National Museum of Modern and Contemporary Art, and the Gyeonggi Museum of Modern Art in Korea. Moon holds an MFA degree in sculpture from Pratt Institute and is represented by Jennifer Baahng Gallery in New York and Seoul.
Artist:
Lives and works in Newport, Rhode Island
ARTIST BIO
Sue McNally (b. 1967) is a painter based in Newport, Rhode Island, with a creative practice spanning locations in Rhode Island and southeastern Utah. Raised in New England, she earned a Bachelor of Fine Arts from the University of Rhode Island in 1990 and a Master of Fine Arts from the Savannah College of Art and Design in 1995. McNally has held prestigious residencies including the Edward E. Elson Artist-in-Residence position at the Addison Gallery of American Art in Andover, Massachusetts. Her work has also been supported by residencies at Carrizozo AIR (New Mexico), McCanna House/North Dakota Museum of Art, Tamarind Institute, Crater Lake National Park, Ucross Foundation, Yaddo, and the Vermont Studio Center. Her artwork is in prominent public and private collections, such as the Addison Gallery of American Art, North Dakota Museum of Art, Tamarind Institute Archive, Worcester Art Museum, RISD Museum, and Newport Art Museum.
Sue McNally has painted landscapes for over 30 years. Through decades of travel and expeditions across the United States, she has developed a deep personal connection to the American landscape. Her work reflects a passionate intensity, vibrant expression, and luminous quality, all skillfully balanced with realism. Depicting mountains, wind, and water, with a delicate ferocity and a sense of playful disorder, she investigates the inherent shapes and proportions of the natural world.
In 2010, Sue McNally embarked on an artistic endeavor, “This Land is My Land,” later named the States paintings. Reflecting her experiences and observations of the American landscape, this journey has produced over forty large-scale paintings and murals. It is ongoing, with each piece representing one of the fifty states. The works, incorporating specific and locatable on-site photographs, exemplify her meticulous attention to detail. They convey a sense of grandeur and the enduring beauty of the terrain, replicating impressions as if viewers are standing in her place. Aiming to further explore abstraction, around 2016 and 2017, these works rely on memory as their reference point. Distorted forms, measured shapes, and pictorial harmony express the internal structure of the landscape, showcasing an abstract and elusive quality. The State paintings encapsulate McNally’s aspiration to transform viewed vistas into landscape paintings through the interplay of forms and colors while appropriately scaling nature.
Since 2020, the work has displayed a richer undergrowth of imagery and a delicate transparency that authentically reflects interpretations of experiences rather than merely physical reality. It draws inspiration from Charles E. Burchfield’s romantic and fantastical delineations of nature and Philip Guston’s efforts to harmonize surrealism, abstraction, and figuration. This evolution has been challenging and invigorating. Rich in regal, seasonal, and phantasmagorical elements, the rebellious features unite different structures in the painted images.
Sue McNally is a painter of the scenic and a poet of visual prose. Her landscapes are hallucinatory, cryptic, and mesmerizing. Ghostly turquoise, magenta curtains, and phantasmal yellows in magnified natural forms evoke a striking sense of monumentality. Each mystical and transcendental palette is carefully chosen to meet the specific demands of the structures in the picture planes. They are the invented landscapes and the enduring myths of the terrain — embodiments of the American sublime immortalized in paint. They emphasize that the fleeting beauty of the American land, as it lives on in our minds, is worthy of our reverence. The most essential form of cultural literacy is to read our environment.
Yooah Park’s Void in Writing is installed in the ATRIUM in Hannam. It is a sculptural mobile made of laser-cut stainless steel suspended by piano strings, soaring 20 feet tall and cascading to the floor. Void in Writing critically analyzes the fundamental nature of communication, raising important questions about its significance when communicative acts devolve into empty gestures. The work investigates the implications of language that lacks meaning, prompting a reevaluation of what constitutes effective communication.
TRANSPACIFIC: LOVE DIFFERENCE
September 3 – November 2, 2024
JENNIFER BAAHNG Hannam
21-18 Hannam-daero 20-gil
Yongsan-gu, Seoul
South Korea 04419
IN THE ATRIUM
VOID IN WRITING
September 3 – November 2, 2024
JENNIFER BAAHNG Hannam
21-18 Hannam-daero 20-gil
Yongsan-gu, Seoul
South Korea 04419
In celebrating its 20th anniversary, JENNIFER BAAHNG is making a significant mark. The gallery is opening its first Asia galleries, in Seoul, featuring TRANSPACIFIC: Perfect Lovers and Love Difference. This exhibition, presented in two parts at two locations, is a testament to two decades of artistic excellence. It showcases over a hundred boundary-leaping, subtle, playful, and political works presented by a diverse group of twelve artists and one poet, each with their own unique perspective. Perfect Lovers, opening September 5 at JENNIFER BAAHNG Gangnam, is an intimate space of vast intrigue, debuting polyphonic collectives of love, alienation, and the absurdism of ideal love. Love Difference, opening September 3 at JENNIFER BAAHNG Hannam, explores creative differences, alluding to Manet, Warhol, and the art of loneliness. While New York is its home, JENNIFER BAAHNG is expanding its horizons, pivoting to the Pacific to share expertise and resources to develop the collective in Contemporary Art.
Perfect Lovers, installed in the Gangnam district of Seoul, attends to splendid superficiality and yields a rich psychological weave. It is refreshingly sensuous and seeks flexible interpretations: Rather than assert an identity or contest a social order, Kevin Melchionne steps into an imaginary space he aspires to but cannot fully inhabit; Jaye Moon reworked Félix González-Torres’s “Perfect Lovers” with a clock face in numerical Braille; the celebrated Mr. repurposed a found snowboard with iconic Japanese manga adolescent couples; quandaries of love are seen through the prism of the omnipotent Picasso; stories in first-person narrative are found in Janet Taylor Pickett’s “Pride and Insouciance.” TRANSPACIFIC: Perfect Lovers takes on the confines of adorning life.
Love Difference, installed in the Hannam district of Seoul with a palette of soft concrete in tandem with stark white walls with rich tonal nuances, presents clashing, flourishing, and playful works with a contemporary edge, a material wonder. While the installation feels ethereal, the format lends itself to a vivid, grand fantasy of love: R.C. Baker uses a copy of The Velvet Underground & Nico, in “Holy of Holies,” for which Andy Warhol was credited as the album’s producer; Brandon Ballengée’s “Frameworks of Absence” meticulously embodies the extinct species’ haunting absence; John Cage, a leading figure of the post-war avant-garde, is featured through a set of thirteen Ryoku, created with the principles of an ancient Chinese divination text, the I Ching; going beyond collaboration to a kind of conspiratorial imagination, Laura Bell and Ian Ganassi’s “The Corpses” has evolved into more than two decades of personal and material call-and-response, with a new batch of collages usually in progress or transit; Ru Marshall’s iPhone photo of a bodega in Brooklyn captures fleeting inquiries of interactive perception; Björn Meyer-Ebrecht’s old book covers are raising expectations, holding authority, hiding secrets, and promising a visionary spirit—remnants from the proverbial “junkyard of history”; Jaye Moon’s “Get That Money” uses 9,216 Lego bricks to reconstruct K-Rap lyrics by Okasian into Braille in number codes; in Janet Taylor Pickett’s “The Liminal,” a voice chimes with Manet’s Olympia. TRANSPACIFIC: Love Difference reminds us that love is all-inclusive.
Yooah Park’s “Void in Writing” is installed in the ATRIUM in Hannam. The piece is a sculptural mobile made of laser-cut stainless steel suspended by piano strings, soaring 20 feet tall and cascading to the floor. This monumental presentation intrigues and piques the audience’s desire to walk around and contemplate it, enriching TRANSPACIFIC’s rich tapestry of contemporary art.
TRANSPACIFIC embarks on a tour, cites the intricacies, and amps up the romance, love, and deliberate insouciance. Playing out riotously in the soul and body of each work in myriad ways, the exhibition sets up methodical beats so that every work resonates. The show moves forward in a vibrant, varied way that brings different perspectives to the tenets of the unexpected. With sensuality and drama, Perfect Lovers is the good, the mad, and the quirky brought together into fantastical stories. Love Difference is profoundly thoughtful and cleverly argued. JENNIFER BAAHNG’s inaugural exhibition in Asia, TRANSPACIFIC, is a tale of love, in two cities, in Seoul.
TRANSPACIFIC: PERFECT LOVERS
September 5 – October 19, 2024
JENNIFER BAAHNG Gangnam
20 Seolleung-ro 119-gil
Gangnam-gu, Seoul
South Korea, 06100
Kevin Melchionne, Jaye Moon, Mr., Picasso, Janet Taylor Pickett
In celebrating its 20th anniversary, JENNIFER BAAHNG is making a significant mark. The gallery is opening its first Asia galleries, in Seoul, featuring TRANSPACIFIC: Perfect Lovers and Love Difference. This exhibition, presented in two parts at two locations, is a testament to two decades of artistic excellence. It showcases over a hundred boundary-leaping, subtle, playful, and political works presented by a diverse group of twelve artists and one poet, each with their own unique perspective. Perfect Lovers, opening September 5 at JENNIFER BAAHNG Gangnam, is an intimate space of vast intrigue, debuting polyphonic collectives of love, alienation, and the absurdism of ideal love. Love Difference, opening September 3 at JENNIFER BAAHNG Hannam, explores creative differences, alluding to Manet, Warhol, and the art of loneliness. While New York is its home, JENNIFER BAAHNG is expanding its horizons, pivoting to the Pacific to share expertise and resources to develop the collective in Contemporary Art.
Perfect Lovers, installed in the Gangnam district of Seoul, attends to splendid superficiality and yields a rich psychological weave. It is refreshingly sensuous and seeks flexible interpretations: Rather than assert an identity or contest a social order, Kevin Melchionne steps into an imaginary space he aspires to but cannot fully inhabit; Jaye Moon reworked Felix Gonzales’s “Perfect Lovers” with a clock face in numerical Braille; the celebrated Mr. repurposed a found snowboard with iconic Japanese manga adolescent couples; quandaries of love are seen through the prism of the omnipotent Picasso; stories in first-person narrative are found in Janet Taylor Pickett’s “Pride and Insouciance.” TRANSPACIFIC: Perfect Lovers takes on the confines of adorning life.
Love Difference, installed in the Hannam district of Seoul with a palette of soft concrete in tandem with stark white walls with rich tonal nuances, presents clashing, flourishing, and playful works with a contemporary edge. While the installation feels ethereal, the format lends itself to a vivid, grand fantasy of love: R.C. Baker uses a copy of The Velvet Underground & Nico, in “Holy of Holies,” for which Andy Warhol was credited as the album’s producer; Brandon Ballengée’s “Frameworks of Absence” meticulously embodies the extinct species’ haunting absence; John Cage, a leading figure of the post-war avant-garde, is featured through a set of thirteen Ryoku, created with the principles of an ancient Chinese divination text, the I Ching; going beyond collaboration to a kind of conspiratorial imagination, Laura Bell and Ian Ganassi’s “The Corpses” has evolved into more than two decades of personal and material call-and-response, with a new batch of collages usually in progress or transit; Ru Marshall’s iPhone photo of a bodega in Brooklyn captures fleeting inquiries of interactive perception; Björn Meyer-Ebrecht’s old book covers are raising expectations, holding authority, hiding secrets, and promising a visionary spirit—remnants from the proverbial “junkyard of history”; Jaye Moon’s “Get That Money” uses 9,216 Lego bricks to reconstruct K-Rap lyrics by Okasian into Braille in number codes; in Janet Taylor Pickett’s “The Liminal,” a voice chimes with Manet’s “Olympia.” TRANSPACIFIC: Love Difference reminds us that love is all-inclusive.
Yooah Park’s “Void in Writing” is installed in the ATRIUM in Hannam. The piece is a sculptural mobile made of laser-cut stainless steel suspended by piano strings, soaring 20 feet tall and cascading to the floor. This monumental presentation intrigues and piques the audience’s desire to walk around and contemplate it, enriching TRANSPACIFIC’s rich tapestry of contemporary art.
TRANSPACIFIC embarks on a tour, cites the intricacies, and amps up the romance, love, and deliberate insouciance. Playing out riotously in the soul and on the body of each work in myriad ways, the exhibition sets up methodical beats so that every work resonates. The show moves forward in a vibrant, varied way that brings different perspectives to the tenets of the unexpected. With sensuality and drama, Perfect Lovers is the good, the mad, and the quirky brought together into fantastical stories. Love Difference is profoundly thoughtful and cleverly argued. JENNIFER BAAHNG’s inaugural exhibition in Asia, TRANSPACIFIC, is a tale of love, in two cities, in Seoul.
Hello Nature – How Best to Live with You?
October 3, 2024 – March 2, 2025
Germanisches National Museum
The exhibition “Hello Nature – How Best to Live with You?”, featuring gallery artist Brandon Ballengée, illustrates the complex relationship between humans and nature. It asks what happens when humans see themselves as the center of all life and try to rule over the natural world. The presentation traces the history of this skewed relationship: a tale of exploitation, threatened existence – even extinction – but also the desire for preservation. At the same time, the exhibition raises the question of future possibilities for a better, more balanced coexistence.
This presentation is divided into three large sections that span the period from early records of human sedentism to the present. It shows how interactions between people and their environment have, over time, led to profound changes. The first section highlights the long history of the human appropriation and exploitation of other beings as ‘natural resources.’ The second chapter addresses nature’s capacity to adapt and bounce back and demonstrates how it is impossible for humans to ever fully master nature. The third chapter is dedicated to new approaches and narratives that seek to overcome the opposition between nature and civilization. The show concludes by exploring potential avenues for overcoming the current ecological crisis. It also investigates to what extent learning about the past can help us face the significant challenges of our present age.
Artist:
Breath(e): Toward Climate and Social Justice
September 14, 2024 – January 5, 2025
Hammer Museum, CA
Part of Getty’s region-wide initiative PST ART: Art and Science Collide, the Hammer presents Breath(e): Toward Climate and Social Justice, organized by guest co-curators Glenn Kaino and Mika Yoshitake. The exhibition considers environmental art practices that address the climate crisis and anthropogenic disasters and their inescapable intersection with equity and social justice issues. Breath(e) was conceived during the height of the global COVID-19 pandemic and America’s racial reckoning in 2020, and as such, explores pressing issues related to the ethics of climate justice while proposing pragmatic and philosophical approaches to spur discussion and resolution. The exhibition strives to challenge and deconstruct polarized political attitudes surrounding climate justice in America and offers new perspectives on land and indigenous rights of nature. Gallery artist Brandon Ballengée showcases four works from his celebrated MIA (Missing-in-Action) series.
Artist:
