NEXT MOVES

Sharon Butler

SHARON BUTLER

Next Moves

September 15 – October 22, 2022

Opening and Artist’s Reception: Thursday, September 15th, 6-8PM

JENNIFER BAAHNG GALLERY is pleased to present NEXT MOVES, the gallery’s inaugural solo exhibition of Sharon Butler’s work, and to announce its representation of the artist. The exhibition showcases a group of recent multi-panel paintings and selected mixed-media drawings. As conferred, these works articulate the pulse and the trajectory of Butler’s work, transposing graphic differences and traversing dimensions with elegance and wit. NEXT MOVES runs from September 15 through October 22, with an artist’s reception at the gallery on Thursday, September 15th, from 6–8PM. 

In 2016, Sharon Butler began making digital drawings on a phone app called PicsArt. They were meant to be seen on a smartphone, and she posted one each morning on Instagram as a way of marking daily life. Over the course of four years, she made and posted more than 1200 of them. It was a “growing thinking” and a “time in an alley waiting it out.” Eventually, the impulse to paint – born of the irresoluteness that courses through all painters  took hold. In 2020, to facilitate the transformation of the tiny digital drawings into full-sized paintings, she began drawing geometric grids on canvases. The digital drawings encapsulated in small squares on the mobile screen, infinitely scalable and potentially endless, were transfigured into permanent building blocks.

In Butler’s work, the grid functions metaphorically as a pulsating chord; a portal through which she gets from point A to point B. As such, it encapsulates activity, gathering meaning and power over time. So deployed, the grid builds on Butler’s interest in wabi-sabi and the provisional approach that she has called, in The Brooklyn Rail and elsewhere, “casualism.” Like Piet Mondrian’s valedictory Broadway Boogie Woogie, her paintings apprehend the syncopation and movement of New York City, exploring seriality with conceptual rigor, opting for a serendipitous, ironic approach.

The multi-panel paintings in the exhibition are monumental versions of smaller solo works. They embrace the history of painting and abstraction by way of idiosyncratic conjunctions and addenda. They resound with color, texture, and light, while also establishing compositional formality, tactile physicality, and emotional resonance. These liberal re-imaginings of images that were once originally pixelated retain an expressively vibrational quality. At the same time, an exuberant materiality anchors convergent edges, shapes, and patterns that afford the work visual stability.

In artcritical, critic Laurie Fendrich described Butler’s paintings as “beautiful and grittily compelling.” Fendrich added that “the future of abstraction will be owned by those who accept a post-compositional approach to their paintings. Right now, Sharon Butler has the best of both worlds.” In NEXT MOVES, Sharon Butler proposes restlessness within the strictures of painting, courting risk and glory, and we are in her church.

Sharon Butler’s solo exhibitions have been reviewed in numerous publications, including New York Magazine, Hyperallergic, artcritical, The New Criterion, The James Kalm Report, and Time Out New York. She has been awarded grants from Creative Capital/Andy Warhol Foundation, the Pollock Krasner Foundation, the Connecticut Commission on the Arts, and Eastern Connecticut State University. She has held residencies at Yaddo, Blue Mountain Center, Pocket Utopia, and Counterproof Press. She has served as a visiting professor, artist, and/or critic at Brown University, Cornell University, the Hoffberger School of Painting (MICA), Penn State, the Pennsylvania Academy of the Fine Arts, the School of the Art Institute of Chicago, the School of Visual Arts, the Parsons School of Design at the New School, and the Vermont Studio Center. She is the founder of the art blogazine, Two Coats of Paint. She currently teaches in the MFA programs at the New York Academy of Art and the University of Connecticut. 

Sharon Butler lives and works in New York.

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Sharon Butler

NEXT MOVES

Sharon Butler
Sept 15 - Oct 22, 2022
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TANGO

Summer Exhibition
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TANGO

TANGO | Summer Exhibition | July 13 - August 17, 2022

TANGO

Summer Exhibition

July 13 - August 17, 2022

Romare Bearden
Sharon Butler
Chun Kwang Young
Jeff Gabel
Michael McClard
Mario Merz
Jaye Moon
Mr.
Janet Taylor Pickett
Osvaldo Romberg
David Salle
Zhang Hongtu

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BIZARRE DELIGHT

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Jan 26 - Feb 28, 2022
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snowboard

MR.

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MR.

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Zhang Hongtu Exhibits at The Wende Museum

Zhang Hongtu is featured at The Wende Museum

November 13, 2022 - March 12, 2023
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Zhang Hongtu

VAN GOGH / BODHIDHARMA

Zhang Hongtu
March 25 - April 27, 2022
Zhang Hongtu

If Bison Can Dream by Zhang Hongtu

November 27, 2021 - January 22, 2022
LOVE DIFFERENCE

LOVE DIFFERENCE

Eric Brown, Janet Taylor Pickett, Zhang Hongtu
May 15 - June 15, 2021
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Sophie Matisse
Janet Taylor Pickett
Zhang Hongtu
October 10 - November 24, 2020
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September 27 - November 16, 2019

ALREADY AND NOT YET

Eric Brown

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.  

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May 5 - June 25, 2022
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May 15 - June 15, 2021

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VAN GOGH / BODHIDHARMA

Zhang Hongtu

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. 

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Zhang Hongtu Exhibits at The Wende Museum

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November 13, 2022 - March 12, 2023
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VAN GOGH / BODHIDHARMA

Zhang Hongtu
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Zhang Hongtu

If Bison Can Dream by Zhang Hongtu

November 27, 2021 - January 22, 2022
LOVE DIFFERENCE

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Eric Brown, Janet Taylor Pickett, Zhang Hongtu
May 15 - June 15, 2021
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Sophie Matisse
Janet Taylor Pickett
Zhang Hongtu
October 10 - November 24, 2020
Quaker Boxes

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

September 27 - November 16, 2019

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WINGS OF DESIRE

Wings of Desire | Jaye Moon

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

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BIZARRE DELIGHT

Michael McClard

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. 

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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

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NECESSARY MEMORIES

JTP

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.

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LOVE DIFFERENCE

 

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

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Eric Brown

ALREADY AND NOT YET

Eric Brown
May 5 - June 25, 2022
LOVE DIFFERENCE

LOVE DIFFERENCE

Eric Brown, Janet Taylor Pickett, Zhang Hongtu
May 15 - June 15, 2021
Zhang Hongtu Exhibits at The Wende Museum

Zhang Hongtu is featured 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

If Bison Can Dream by Zhang Hongtu

November 27, 2021 - January 22, 2022
LOVE DIFFERENCE

LOVE DIFFERENCE

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

MORE THAN ONE WAY HOME

Sophie Matisse
Janet Taylor Pickett
Zhang Hongtu
October 10 - November 24, 2020
Quaker Boxes

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

September 27 - November 16, 2019

Nam June Paik at ARTSingapore 2008

Nam June Paik, BlueBuddha

At the invitation of ARTSingapore to organize their Special Exhibition Project for 2008 edition, ZONE: Chelsea Center for Arts organized Nam June Paik’s exhibition presenting Blue Buddha.

 

Nam June Paik

Blue Buddha

1992 – 1996

250 x 155 x 205 cm

Courtesy of the Kim Soo Keong Collection

 

ARTSingapore 2008 Special Exhibition, “Nam June Paik: An Intimate Retrospective from the Kim Soo Keong Collection”.

 

 

ARTSingapore 2008

October 9 – 13, 2008

Suntec Singapore, International Convention and Exhibition Center

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Gary Hill and Nam June Paik at Art Taipei 2008

Gary Hill, Language Willing

At the Art Taipei’s invitation for their 2008 Year Project, “Art & Tech – Wandering”, ZONE: Chelsea Center for the Arts presented Gary Hill’s “Remembering Paralinguay” and Nam June Paik’s “Beuys Voice” for the special exhibition during Art Taipei 2008.

 

George Quasha and Gary Hill gave lecture and Q&A on August 30, 2008 titled “Language Beyond Its Own Limits”

 

Nam June Paik

Beuys Voice

1990

265 x 188 x 95 cm

 

Gary Hill

Remembering Paralinguay

2000 

Single-channel video/sound installation
Video projector and mount, four amplified speakers, DVD player and one DVD (black-and-white; sound)
Performer:  Paulina Wallenberg-Olsson
Dimensions variable
Photo: Courtesy Donald Young Gallery, Chicago

Art Taipei 2008

August 29 – September 2, 2008

Taipei World Trade Center, Taipei

 

Gary Hill, Language Willing

Gary Hill

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