MORE THAN ONE WAY HOME

SOPHIE MATISSE
MORE THAN ONE WAY HOME

October 10 - November 24, 2020​

Baahng Gallery celebrates its 2020 reopening with More Than One Way Home, an exhibition featuring the gallery’s represented artists: Sophie Matisse, Janet Taylor Pickett, and Zhang Hongtu. The exhibition offers a glimpse into the struggles of the artists and their coming to terms with their individual challenges. Sophie, the great-granddaughter of Henri Matisse and step-granddaughter of Marcel Duchamp, is an American oil painter working in New York City; Janet is an African American multi-media artist working on the West Coast; Hongtu is a Muslim Chinese artist who has been working in New York since 1982. The exhibition acknowledges and affirms that home, for these artists, is not situated in nostalgia. Rather, through a cyclical process of revisitation, they find home in both the present and future potential. More Than One Way Home follows a journey through each artist’s rite of passage in life and is a compelling visualization of distinct, individual expressive forms. Baahng Gallery is open Monday thru Friday, noon to 3pm, and by appointment.



Selected works from Sophie Matisse’s ‘Be Back in Five Minutes’ series are strategically installed in the gallery. Returning to renowned paintings by Gustave Courbet, Marcel Duchamp, Man Ray, Charles Wilson Peale through her unique lens, she appropriates and embellishes upon, or subtracts from, recognizable works from art history. The interplay between absence and presence in these haunting paintings is evocative. Featured as well is her most recent painting, ‘Homeward 1’. In this contemplative autobiographical tondo completed during the pandemic quarantine, the artist positions an errant chess piece peering out over a window ledge into the hazy verdant void, invoking solitude and the uncertain but hopeful future ahead. More Than One Home highlights some of the most intriguing works from her celebrated series and is her inaugural show at Baahng Gallery commemorating her gallery representation.


‘Mappings of Memory’, a survey showcasing Janet Taylor Picket’s works, introduces selected paintings, collages, sculptures, and quilts from the 1990s through 2020. Her experiential work chronicles her journey as an African American woman, daughter, mother, and artist. Images drawn from art history, Africa, America and Europe, past and present, coexist in her often-ornate collages and paintings, defying linear timeframes and logical geographic or cultural relationships. The inclusion of the shipping crates in which the works were transported to the gallery adds a poignant historical dimension to the installation, referencing both her personal odyssey and that of her ancestors. The suggestive titles of the works on view reflect her creative vision: ‘Spirit Catchers', ‘Hot House', 'Melon Dress’, 'Exotica Botanica’, ‘Thoughtful Resilience’, and ‘She Has An Agency,’ the latter produced in 2020. These works constitute the artist’s confessional narrative circling back with newly found wisdom in life as well as in art. More Than One Way Home inaugurates Pickett’s representation with Baahng Gallery and presents her first New York exhibition.


Zhang Hongtu’s video, ‘Van Gogh/Bodhidharma’, is the centerpiece of his installation. This mesmerizing video production builds on his seven-year project (2007 – 2014), a set of 39 ink paintings that rework Van Gogh’s 39 extant self-portrait oil paintings in the style of classical Zen portraits of Bodhidharma. Revealed in both this video and the original endeavor upon which it was based are parallels in the lives and aesthetics of Zhang and Van Gogh. The artist compels viewers in both iterations of this project to reconsider Van Gogh’s fascination with Asian aesthetics, registering a more philosophical connection and inner resonance between the European post-impressionist artist and the East. Reflecting upon this project, Zhang expresses his approach as one that ‘dares to mate a horse with an ox’. Framing the video are wall texts quoting provocative passages from Van Gogh’s letters to his brother Theo and to Paul Gauguin. More Than One Way Home marks the launch of Zhang’s visionary ‘Van Gogh/Bodhidharma Project’—a quixotic effort to unite his ink paintings with the original painted portraits—and announces his official gallery representation with Baahng Gallery.

Related:

SECRET GARDEN

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
SophieMatisse at the Art Newspaper

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

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

SOPHIE MATISSE

Be Back in 5
April - June, 2020
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
Zhang Hongtu at Art and China after 1989

Zhang Hongtu in ART AND CHINA AFTER 1989: THEATER OF THE WORLD

Solomon R. Guggenheim Museum New York
October 6, 2017 - January 7, 2018
Zhang Hongtu

International artist Zhang Hongtu debuts first solo Midwest show at K-State

Review by Savanna Maue, THE TOPEKA CAPITAL JOURNAL
September 22, 2018

NAOMI SAVAGE

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. 

Related:

Naomi Savage, Artists All [Duchamp/Man Ray/David Savage]

NAOMI SAVAGE

Unexplored Limits
April - June, 2020

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MAN RAY

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.

 

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

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.

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Related:

Man Ray, A l’Heure de l’observatoire—les amoureux,

MAN RAY

A l’Heure de l’observatoire—les amoureux
April - June, 2020
Man Ray

MAN RAY

April - June 2020

Categories: exhibitions

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SOPHIE MATISSE

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……………………..

 

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

Related:

SECRET GARDEN

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
SophieMatisse at the Art Newspaper

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

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

SOPHIE MATISSE

Be Back in 5
April - June, 2020

Categories: exhibitions

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JANET TAYLOR PICKETT

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.”……………………………………….

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

Related:

Categories: exhibitions

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BRIAN DAILEY: WORDS: A Global Conversation

Baahng Gallery is pleased to present WORDS: A Global Conversation, Brian Dailey’s creative summation of 7-year odyssey (2012-2019) that took him to 120 countries.  Working in an international geopolitical landscape undergoing tumultuous and historic changes over the evolution of this project, Dailey visited public and private venues on all 7 continents.  The exhibition is the inauguralof the project in its entirety and showcases WORDS MULTIMEDIA installation and WORDS ON WORDS, a 13 lenticular- print series.  This exhibition is Dailey’s second solo show with the gallery and will run from February 11 thru March 17, 2020, accompanied with opening reception on Tuesday, February 11, 6-8pm, and Artist Talk on March 3, Tuesday, 5:30pm. 

 

WORDS is the artist’s investigation into the impact of globalization and its effect on key human structures of language, society, culture, and environment.In each country, Dailey set up his camera with green-screen backdrop and invited random individuals.  Participants were asked 13 words in their native languages: peace, war, love, environment, freedom, religion, democracy, government, happiness, socialism, capitalism, future, and United States.  Each person responded—in a single word—with a first impression andselected a background flag reflecting his or her societal allegiance.  WORDS MULTIMEDIA is a time-based artand engages the viewers in present day issues while invoking a communal sense among global citizens.  In WORDS on WORDS, distinct single-word responses are layered in an immeasurable array of colors enhanced by the lenticular 3D effect. Interjecting his voice in a collaborative manner with the project’s participants, Dailey creates iconoclastic yet playful statements reminiscent of Dada and Surrealist word play. 

 

Born 1951 in California, Brian Dailey earned MFA from Otis Art Institute in 1975 and Ph.D. from University of Southern California in 1987 and participated in the pioneering creative experimentation defining the prolific artistic milieu in California in this era.  His early career launched him on a path that—before his full circle back to his arts in 2008—took him through a twenty-year interlude working on arms control and international security.  These unusual experiences were a fertile source of inspiration in his idiosyncratic art practice. With dual citizenship of USA and New Zealand, He lives and works in the Washington D.C. and in Woodstock, Virginia.  His selected solo exhibitions include at Katzen Arts Center, American University Museum in Washington D.C., in 2018 and his mid-career retrospective at Bulgaria’s National Art Gallery in Sofia in 2014. The evocative videoJIKAI was screened on multiple synchronized monitors in New York City in February, 2014, as the featured video in the Times Square Midnight Moment series; a project of ART PRODUCTION FUND. Brian Dailey is represented by Baahng Gallery. 

 

Brian Dailey

WORDS: A Global Conversation

A solo exhibition by Brian Dailey

February 11 – March 17, 2020

 

Opening reception

6-8PM, Tuesday February 11, 2020

 

Artist Talk:

5:30PM, Tuesday March 3, 2020

 

 

Brian Dailey, WORDS ON WORDS

WORDS on WORDS, 2019

Set of 13, Solos, Lenticular Prints 20 x 40 in, 24 x 48 in
50.8 x 101.6 cm, 70 x 122 cm edition of 25 plus 5AP’s each unique

WORDS on WORDS, a print series of the project, comprises 13 lenticular works. Distinct single-word responses derived from the answers of the more than 3000 participants in the project are layered throughout the panels in an immeasurable array of colors enhanced by the 3D effect. Interjecting his voice in a collaborative manner with the project’s participants from 134 countries, the artist combined these individual answers into two- or three-word phrases to create iconoclastic yet playful statements reminiscent of Dada and Surrealist word play.

 

Brian Dailey, Tous les Mots

Tous les Mots, 2018
Inkjet on museum etching paper 13 solos each unique
18 x 22 in
46 x 58.5 cm
edition of 25 plus 5AP’s

Tous les Mots, is a play on the French expression tous les monde, which in its most literal sense translates as all the people in the world. By interjecting the French word for words—mots—it creates a double entendre highlighting both the global and individual voice of the project. The series encapsulates the very essence of this series in that every word uttered by the nearly 3,000 participants is represented in one of the prints corresponding to each of the thirteen words. This print series gives voice to each and every individual who engaged in the WORDS endeavor, the various responses were calibrated and scaled to reflect the frequency in which they were articulated – forming dynamic word clouds.

 

Related:

Brian Dailey, WORDS: A Global Conversation

BRIAN DAILEY: WORDS: A Global Conversation

February 11 - March 17, 2020
Brian Dailey, America in Color

BRIAN DAILEY: Polytropos

November 1 - December 15, 2018
Brian Dailey's "WORDS" and "American in Color", installation view at the Rachel M. Schlesinger Arts Center

Brian Dailey at The Rachel M. Schlesinger Arts Center

In collaboration with the Department of Photography and Media of the Alexandria Campus of NOVA
January 11 - February 8, 2019
perform_baahng_0113

PERFORMATIVE

Brian Dailey, Miryana Todorova, Rae-BK
July 17 - August 15, 2018

Categories: exhibitions

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

Quaker Boxes

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
Related:
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
Zhang Hongtu at Art and China after 1989

Zhang Hongtu in ART AND CHINA AFTER 1989: THEATER OF THE WORLD

Solomon R. Guggenheim Museum New York
October 6, 2017 - January 7, 2018
Zhang Hongtu

International artist Zhang Hongtu debuts first solo Midwest show at K-State

Review by Savanna Maue, THE TOPEKA CAPITAL JOURNAL
September 22, 2018

Categories: exhibitions

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VERTIGO

Vertigo

 

Works on Paper

 

July 19 – August 23, 2019

 

By Appointment

 

……………………………..A Note to Paula | Art Volant | Candide | CS-08 Crossroads |Darwin in Contact with Nature | Expulsion and Nativity | Frankensteinʼs Monster |Further I II III IV | IT IS AS POSSIBLE TO HAVE A SPACE WITH TABLES FOR 88 PEOPLE AS IT IS TO HAVE A SPACE WITH TABLE FOR NO ONE | Kites | Mao, After Picasso | Mesostics: Earth, Air, Fire, Water | Nina Simone | Ovid Resting in Nature | Phase Conception: Spring Sea | Stephen Hawking | The Train | T.E. Lawrence Returns to Nature | Van Gogh in Contact with Nature………………………………..

 

 

Joseph Beuys
Carol Bove
Mario Merz
Nobuo Sekine
Josh Smith

Categories: exhibitions

JACK SAL: Re/Vision

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

 
Related:
Jack Sal: Re/Vision, installation view

JACK SAL: Re/Vision

January 22 - February 28, 2009
whitehot magazine

WHITEHOT Magazine on Jack Sal: “Re/Vision”

Thomas Butter interviews Jack Sal
January 2009

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PASHA RADETZKI: Crossed House

ZONE: CONTEMPORARY ART is proud to present Pasha Radetzki in his first solo exhibition in New York. The exhibition showcases installation, sculpture, paintings, and drawings accompanied by sound. The concept of trans-space is manifest in the works on view and drawing on the artist’s childhood memories and heritage.

 

Crossed House is an interactive environment where a large-scale sculpture Cross cuts through a house. Viewers are invited to pass through the cross embodying themselves in the regeneration process of the site’s four cardinal directions. The installation adopts the Slavic nesting Doll within the Doll, Matryoshka construction tradition to present the house in all its dimensions, expanded and interconnected. This confirms the artist’s notion of “socium”: the micro-macro form coexists and interrelates, as there are multiple houses built in the space of one.

 

From the Republic of Belarus, the artist since 1999 has been based in New York. Pasha Radetzki has exhibited in Germany, Moscow, Spain, Mexico, South Korea and Taiwan. His works are included in the public and private collections of Exit Art, Moscow House of Photography, Belarus Museum of National History, and Faro Disegni inRome. In 2002 he was a recipient of an international ArtsLink Projects Award for installation from CEC International Partners, New York. Numerous fieldwork projects have taken the artist to the tribal areas of Mynamar and Laos, the Amazon delta, the Himalayan western region, Andean Puna, and Western China. Pasha Radetzki’s art reviews have appeared in The Village Voiceand New York Arts Magazine.

Crossed House

A solo exhibition by Pasha Radetzki

March 5 – 28, 2009

 

Opening reception

6-8pm, Thursday March 12

 

 

Categories: exhibitions