JENNIFER BAAHNG

  • ARTISTS
  • EXHIBITIONS
  • ONLINE EXHIBITIONS
  • NEWS
  • CONTACT
  • SHOP
 

Category Archives: exhibitions

ALREADY AND NOT YET

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

ALREADY AND NOT YET

By Eric Brown

May 5 - June 25, 2022

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

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

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

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

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

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

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

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

Related:

JANET TAYLOR PICKETT, ZHANG HONGTU, PINK and THE CORPSES


JANET TAYLOR PICKETT, ZHANG HONGTU, PINK and THE CORPSES


Oct 5 – 31, 2023
Eric Brown

ALREADY AND NOT YET

Eric Brown
May 5 - June 25, 2022
Eric Brown

ERIC BROWN

Eric Brown

ERIC BROWN

LOVE DIFFERENCE

LOVE DIFFERENCE

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

Categories: exhibitions

Tags: Eric Brown

VAN GOGH / BODHIDHARMA

March 23, 2022
Zhang Hongtu
Zhang Hongtu
Zhang Hongtu
Installation 1
Zhang Hongtu
Installation 2
Zhang Hongtu
Installation 3
Zhang Hongtu
Installation 4
Zhang Hongtu
Installation 5
Previous
Next

ZHANG HONGTU

Van Gogh/Bodhidharma
March 25 – April 27, 2022

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

Related:

JANET TAYLOR PICKETT, ZHANG HONGTU, PINK and THE CORPSES


JANET TAYLOR PICKETT, ZHANG HONGTU, PINK and THE CORPSES


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

Zhang Hongtu at Museo Picasso Målaga 

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

PICASSO, WELCOME TO AMERICA

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

Zhang Hongtu is featured at the Asia Society in Texas

February 10 - July 2, 2023
Pitches & Scripts

PITCHES & SCRIPTS

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

Zhang Hongtu lectures and exhibits at the Wende Museum

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

TANGO

Summer Exhibition
July 13 - August 17, 2022
Zhang Hongtu

VAN GOGH / BODHIDHARMA

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

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

February 17, 2022
LOVE DIFFERENCE

LOVE DIFFERENCE

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

Categories: exhibitions

Tags: Zhang Hongtu

WINGS OF DESIRE

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

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

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

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

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

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

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

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

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

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

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

WINGS OF DESIRE

A Brief Survey of Sculptural Paintings by Jaye Moon

March 25 – April 27, 2022

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

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

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

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

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

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

Jaye Moon Soars On Wings of Desire by Paul Laster

Related:

Sue McNally Jaye Moon Janet Taylor Pickett

PARADE

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

JAYE MOON

PRIVATE
June 1 - 30, 2025
nyfa-logo

Jaye Moon 2025 NYFA Hall of Fame Inductee

March 18, 2025
brooklyn museum logo

Brooklyn Museum : The Brooklyn Artists Exhibition

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

TRANSPACIFIC: LOVE DIFFERENCE

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

TRANSPACIFIC: PERFECT LOVERS

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


JANET TAYLOR PICKETT, ZHANG HONGTU, PINK and THE CORPSES


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

PICASSO, WELCOME TO AMERICA

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

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

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

TANGO

Summer Exhibition
July 13 - August 17, 2022

Categories: exhibitions

Tags: Jaye Moon

BIZARRE DELIGHT

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

BIZARRE DELIGHT

January 26 – February 28, 2022

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

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

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

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

Related:

Brooklyn Museum is showcasing MOTIVE, a film by Michael McClard

Brooklyn Museum is showcasing MOTIVE, a film by Michael McClard

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

TANGO

Summer Exhibition
July 13 - August 17, 2022
Michael McClard

BIZARRE DELIGHT

Michael McClard
Jan 26 - Feb 28, 2022
MICHAEL MCCLARD

MICHAEL MCCLARD

Michael McClard

MICHAEL MCCLARD

Michael McClard, Candide

MICHAEL MCCLARD

Categories: exhibitions

Tags: Michael Mcclard

NECESSARY MEMORIES

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

NECESSARY MEMORIES

Sept 14 – Nov 20, 2021

MEET THE ARTIST:

Sept 15 & 16, 12PM – 3PM

LIVE INTERVIEW:

Janet Taylor Pickett with Marion K. Maneker

Sept 14 at 5PM

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

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

— Janet Taylor Pickett


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


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


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


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


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

Article on ARTnews

ARTnews

View on YouTube

YouTube

Related:

Sue McNally Jaye Moon Janet Taylor Pickett

PARADE

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

JANET TAYLOR PICKETT

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

JANET TAYLOR PICKETT

April – May, 2025
HHammonds House Museum

Janet Taylor Pickett in the Traveling Museum Exhibitions

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

TRANSPACIFIC: LOVE DIFFERENCE

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

TRANSPACIFIC: PERFECT LOVERS

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

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

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

PRIDE AND INSOUCIANCE

February - April 2024
stamps school of art & design

STAMPS interviews Janet Taylor Pickett: History and Artistry

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


JANET TAYLOR PICKETT, ZHANG HONGTU, PINK and THE CORPSES


Oct 5 – 31, 2023

Categories: exhibitions

Tags: Janet Taylor Pickett

SECRET GARDEN

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

 

SECRET GARDEN

May 15 – June 30, 2021

 

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

Related:

SECRET GARDEN

SECRET GARDEN

Sophie Matisse
May 15 - June 30, 2021
SOPHIE MATISSE

SOPHIE MATISSE

SOPHIE MATISSE

MORE THAN ONE WAY HOME

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

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

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

SOPHIE MATISSE

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

SOPHIE MATISSE

Categories: exhibitions

Tags: Sophie Matisse

LOVE DIFFERENCE

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

 

LOVE DIFFERENCE

May 15 – June 15, 2021 

Eric Brown

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

Janet Taylor Pickett

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

Zhang Hongtu

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

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

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

Related:

JANET TAYLOR PICKETT, ZHANG HONGTU, PINK and THE CORPSES


JANET TAYLOR PICKETT, ZHANG HONGTU, PINK and THE CORPSES


Oct 5 – 31, 2023
Eric Brown

ALREADY AND NOT YET

Eric Brown
May 5 - June 25, 2022
Eric Brown

ERIC BROWN

Eric Brown

ERIC BROWN

LOVE DIFFERENCE

LOVE DIFFERENCE

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

PARADE

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

JANET TAYLOR PICKETT

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

JANET TAYLOR PICKETT

April – May, 2025
HHammonds House Museum

Janet Taylor Pickett in the Traveling Museum Exhibitions

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

TRANSPACIFIC: LOVE DIFFERENCE

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

TRANSPACIFIC: PERFECT LOVERS

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

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

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

PRIDE AND INSOUCIANCE

February - April 2024
stamps school of art & design

STAMPS interviews Janet Taylor Pickett: History and Artistry

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


JANET TAYLOR PICKETT, ZHANG HONGTU, PINK and THE CORPSES


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


JANET TAYLOR PICKETT, ZHANG HONGTU, PINK and THE CORPSES


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

Zhang Hongtu at Museo Picasso Målaga 

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

PICASSO, WELCOME TO AMERICA

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

Zhang Hongtu is featured at the Asia Society in Texas

February 10 - July 2, 2023
Pitches & Scripts

PITCHES & SCRIPTS

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

Zhang Hongtu lectures and exhibits at the Wende Museum

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

TANGO

Summer Exhibition
July 13 - August 17, 2022
Zhang Hongtu

VAN GOGH / BODHIDHARMA

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

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

February 17, 2022
LOVE DIFFERENCE

LOVE DIFFERENCE

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

Categories: exhibitions

Tags: Eric Brown Janet Taylor Pickett Zhang Hongtu

MORE THAN ONE WAY HOME

September 16, 2020
SOPHIE MATISSE
Sophie Matisse
Sophie Matisse
The Staircase Group, 2001
Oil on canvas with wooden step
108H x x 54Wx 13D in. (274.32H x 124.46W x 33.02D cm)
Sophie Matisse
Sophie Matisse
Homeward 1, 2020
Oil on wood
8 inch diameter (20.32 cm diameter)
&
Sophie Matisse
Origin of the World, 2003
Oil on canvas with velvet casing
18.5 x 22.5 in. (46.99 x 57.15 cm)
Sophie Matisse
Sophie Matisse
Nude Descending a Staircase, 2012
Oil on canvas
48 x 24 in. (121.92 x 60.96 cm)
&
Janet Taylor Pickett
She Has Agency, 2020
Acrylic and collage on canvas
40 x 40 in. (101.6 x 101.6 cm)
Janet Taylor Pickett
Janet Taylor Pickett
Ritual, 2003
Acrylic and collage on canvas
36 x 36 in. (91.44 x 91.44 cm)
&
Janet Taylor Pickett
Mellon Dress, 2001
Acrylic and collage on canvas
60 x 40 in. (152.4 x 101.6 cm)
Janet Taylor Pickett
Janet Taylor Pickett
Charms & Inspirations, 2015
Sculpture with indigo blue glass bottles with messages inside, acrylic, collage,
and twine on shaped Arches paper over glass bottle
15 H x 10.5 W x 5 D in. (38.1H x 26.67 W x 12.7D cm)
Zhang Hongtu
Zhang Hongtu
Still image #29 from video version of Van Gogh/Bodhidharma,
a set of 39 Ink Paintings on paper, 2007-2014
approx. 35 x 25 in (88.9 x 63.5 cm) each
Zhang Hongtu
Zhang Hongtu
Still image #31 from video version of Van Gogh/Bodhidharma,
a set of 39 Ink Paintings on paper, 2007-2014
approx. 35 x 25 in (88.9 x 63.5 cm) each
Zhang Hongtu
Zhang Hongtu
Still image #26 from video version of Van Gogh/Bodhidharma
a set of 39 Ink Paintings on paper, 2007-2014
approx. 35 x 25 in (88.9 x 63.5 cm) each
Previous
Next
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.


‘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

SOPHIE MATISSE

SOPHIE MATISSE

MORE THAN ONE WAY HOME

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

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

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

SOPHIE MATISSE

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

SOPHIE MATISSE

Sue McNally Jaye Moon Janet Taylor Pickett

PARADE

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

JANET TAYLOR PICKETT

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

JANET TAYLOR PICKETT

April – May, 2025
HHammonds House Museum

Janet Taylor Pickett in the Traveling Museum Exhibitions

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

TRANSPACIFIC: LOVE DIFFERENCE

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

TRANSPACIFIC: PERFECT LOVERS

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

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

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

PRIDE AND INSOUCIANCE

February - April 2024
stamps school of art & design

STAMPS interviews Janet Taylor Pickett: History and Artistry

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


JANET TAYLOR PICKETT, ZHANG HONGTU, PINK and THE CORPSES


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


JANET TAYLOR PICKETT, ZHANG HONGTU, PINK and THE CORPSES


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

Zhang Hongtu at Museo Picasso Målaga 

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

PICASSO, WELCOME TO AMERICA

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

Zhang Hongtu is featured at the Asia Society in Texas

February 10 - July 2, 2023
Pitches & Scripts

PITCHES & SCRIPTS

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

Zhang Hongtu lectures and exhibits at the Wende Museum

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

TANGO

Summer Exhibition
July 13 - August 17, 2022
Zhang Hongtu

VAN GOGH / BODHIDHARMA

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

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

February 17, 2022
LOVE DIFFERENCE

LOVE DIFFERENCE

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

Categories: exhibitions

Tags: Janet Taylor Pickett Sophie Matisse Zhang Hongtu

MICHAEL MCCLARD

March 4, 2019
Michael McClard, Candide
Michael McClard, Candide
Michael McClard
Candide, 2019
Styrofoam, fiberglass mesh reinforced BTS supporting acrylic enhanced plaster and acrylic paint, 24 karat gold leafs
30H x 24W x 3D inches
Michael McClard, Maybe
Michael McClard
Maybe, 2019
Styrofoam, fiberglass mesh reinforced BTS supporting acrylic enhanced plaster and acrylic paint, 24 karat gold leafs
18H x 24W x 3D inches
Michael McClard, Stephen Hawking
Michael McClard
Stephen Hawking, 2019
Styrofoam, fiberglass mesh reinforced BTS supporting acrylic enhanced plaster and acrylic paint, 24 karat gold leafs
20H x 24W x 3.5D inches
Michael McClard, Someplace in Space, 2018, Mixed media, 27 x 24 inches
Michael McClard
Someplace in Space
2018
Mixed media
27 x 24 inches
Previous
Next

Michael McClard arrived in New York in 1973 with a BFA from the San Francisco Art Institute, where he also won a Peabody Award in Sculpture. He soon made his mark on the art scene as a member of a highly original group of young artists who helped to revive an interest in painting and visual performance. He was a founding member of the noted artists’support group Colab and its first president.

 

Sidestepping the confines of abstract conceptual art, McClard’s work seethes with figurative content; yet it has nevertheless retained a conceptual element and mines a strong vein of humor.

 

During the 70s he staged provocative performances such as “Foes v. Foes” at the Kitchen and surreal, carnivalesque installations at venues such as the Clocktower (“There’s Meat on these Bones”); PS 1, Institute for Art and Urban Resources, De Appel, Amersterdam and N.A.M.E Gallery, Chicago. For these presentations, he constructed all sets and props and performed, often as sole actor. His one-act play, “Mumbo Jumbo,” was published in Avalanche 12, Winter 1975.

 

In October 1981, his first large-scale one-man show of paintings and frescoes took place at Mary Boone, occupying both galleries on either side of West Broadway. Drawing on sources from mythology, history and everyday life, he created a pantheon of imaginary characters, notable for their tactile raw energy, range of facial expressiveness and astute power of observation. Also featured were inventive depictions of historical scenes, acclaimed by critics such as Grace Glueck of the New York Times for their verve and by Hal Foster of
Art in America for their metaphysical insights. Many of these works were acquired by New York and Los Angeles public and private collectors. During this period McClard was also awarded two fellowships by the National Endowment for the Arts, in Visual Arts and Mixed Media.

 

In the 90s McClard took a temporary hiatus from painting to explore new media. He embraced the digital revolution and applied his draughtsmanship skills to the creation of original software with his brother Peter McClard through their enterprise, Hologramophone Research. The computer installation “DNA Characters” extended his interest in human physiognomy by generating an unlimited sequence of drawings of faces and was exhibited in “A visage découvert,” Fondation Cartier pour l’Art Contemporain, Jouy-en Josas, France.

 

Among the many group shows in which his paintings and objets d’art have been featured are “Figures of Mystery”, Queens Museum, NY; “The Pressure to Paint”, Marlborough Gallery, NY; “TV’s IN”, Max Fish, New York, and The Barry Lowen Collection, Museum of Contemporary Art, Los Angeles, CA.

 

More recently, McClard’s experimental short films Alien Portrait (1978) and Contortions (1978) were given their world premiere at “No Wave Cinema, 1978-87” at the Whitney Museum of American Art.

 

Education:

BFA, San Francisco Art Institute in 1971, moved to New York 1973


Two National Endowment of the Arts Fellowships, one in Multi Media, the other, as a Visual Artist.

REVIEW QUOTES FOR MICHAEL McCLARD

 

“. . .An oddball but wonderful choice, for example, is Michael McClard’s ‘’Mise en Scene (circa 1500),’’ a painting based on the life of Michelangelo. Built out from the picture plane with thick plaster slabs and painted frescolike in rich colors that bring an old-master palette into the 20th century, it depicts Michelangelo in his cathedral workroom, wearing a funnel hat with a candle in it, leaning intently over a scabrous cadaver. At once affecting and funny in its comment on the profession of artist, it’s brought off with great verve.”

 

Grace Glueck, “Figures of Mystery,” The New York Times, Jan 7 1983 Participating artists included Susan Rothenberg and Eric Fischl.

 

 

“. . . All in all the show was a bizarre delight. . .Post-minimalist artists often used materials that were somehow tabooed, but McClard’s art is funnier than theirs. It is also more ambitious in content: the show ranged from shit to Saturn, from grotesques to Christs. Here was an art with a cosmology—the universe as delusion of grandeur. . .But the delusion seemed to know itself as such . . .

 

“. . .The clown, the circus, are also part of the iconography of painting . . . Artists like Schnabel and Clemente pretend to paint the great carnival of time, only to fall back on an old clown act. McClard, at least, shows signs that he knows his act for what it is . . .”

 

Hal Foster, “Michael McClard at Mary Boone,” Art in America, December 1981

Selected exhibitions

Solo Exhibitions:

1988 “Things”, Willoughby Sharp Gallery, N.Y. NY

1987 Suzan Cooper Gallery, N.Y. NY
86 Simon Cerigo Gallery, N.Y. NY

1985 Curated by Atanasio Di Felice, Harm Bouckaert Gallery, N.Y. NY

1982 American Graffiti Gallery, Amsterdam NE
81 Mary Boone Gallery, N.Y. NY

1977 Konrad Fischer Tunnel Space, Dusseldorf, W. Germany

“Trial by T.V.”, Hallwalls, Buffalo, N.Y. NY 1975

1975 “There’s Meat on These Bones”, The Clocktower, Institute for Art and Urban Resources, N.Y. NY

Group Exhibitions:

2007 The Downtown Show: The New York Art Scene, 1974–1984 (Broken Stories), curated by Carlo

McCormick, New York, NY

1997 “Last Party,” Serge Sorokko Gallery, New York, NY

1996 “No Wave Cinema 1978–81,” Whitney Museum of American Art, New York, NY

1993 “A visage découvert” Fondation Cartier pour l’Art Contemporain, Jouy-en Josas, France

1990 “Aquarian Artists,” Fine Arts Center, University of Rhode Island, Kingston, RI.

“TV’s IN” Max Fish, N.Y. NY

1989 “Prisoners of Art,” Police Building, N.Y. NY

1988 “Micro sculpture” Fine Arts Center, University of Rhode Island, Kingston, R.I.

“Rebop”, curated by Glen O’brien, Paula Allan Gallery, N.Y. NY

1986 “The Bary Lowen Collection”, MOCA’s Temporary Contemporary, Los Angeles, CA

Simon Cerigo Gallery, N.Y. NY
Benefit for the Poetry Project at St. Marks Church, N.Y. NY

1984 “Hundreds of Drawings”, Artists Space Benefit, N.Y. NY
“Bomb Magazine Benefit”, Blum-Helman Warehouse, N.Y. NY Art Palace, N.Y. NY

“Sex Show”, Cable Gallery, N.Y. NY

1983 “Prints and Drawings for Collectors”, New Gallery of Contemporary Art, Cleveland, OH

1983 “Terminal New York,” AAA Art, N.Y. NY

“Intoxication,” Monique Knowlton Gallery, N.Y. NY “Sweet Art”, Ronald Feldman Gallery, N.Y. NY

“The Pressure to Paint” Marlborough Gallery, N.Y. NY
“Figures of Mystery”, Queens Museum, Queens, N.Y.
“Beast: Animal Imagery in Recent Painting”, PS1, Institute for Art and Urban Resources, L I C, NY “New Figuration in America”, Milwaukee Art Museum, Milwaukee, Wis.

1982 “Critic’s Choice”, PS 1, Institute for Art and Urban Resources, Long Island City, NY

1981 “New York: New Wave,” PS 1, Institute for Art an Urban Resources, Long Island City, NY

“Gallery Artists” Mary Boone Gallery, N.Y. NY

1979 “Bat Man Show”, 591 Broadway, N.Y. NY
“The Doctors and Dentists Show, 591 Broadway, N.Y. NY “Income and Wealth Show”, 5 Bleeker Street, N.Y. NY

1978 “Exhibit A”, 93 Grand Street, N.Y. NY 1977
“New Art Auction and Exhibition”, Artists Space, N.Y. NY

1976 “Ten in Situ”, Colgate College, Hamilton, N.Y.

1975 “Continuing Work in Various Media” 597 Broadway, N.Y. NY

1970 “Young Bay Area Sculptors”, Emanuel Walter Gallery, San Francisco, CA

 

Bibliography

Glueck, Grace, ”Art: One Man’s Biennial Assembles 102 Artists,“ The New York Times, 15 April 1983

Mouferage, Nicolas, ”Intoxication, 9 April 1983,“ arts Magazine, April 1983 Preston, ”Art Review: Mystery in Queens,“ Newsday, 7 January 1983

Glueck, Grace, ”Art: ’Figures of Mystery‘ Shows New Work By 10,“ The New York Times, 7 January 1983

Sussler, Betsy, ”Michael McClard Interview“ Bomb Magazine, No.4, January 1983

Glueck, Grace, ”Of Beasts and Humans: Some Contemporary Views,“ The New York Times, 14 November 1982

Wolf, Deborah, ”Mary Boone“ Avenue, October 1982

Price, Katherine, ”Arte USA,“ Nouvi Argomenti, August-September 1982

Silverthorne, Jeannie, ”The Pressure to Paint,“ Artforum, October 1982

Wolfert-Wihlborg, Lee, ”Manhattan’s Avant-Garde Art Dealers,“

Town and Country, September 1982 (photo of ”Los Alomos,” p. 250)

Foster, Hal, ”Between Modernism and the Media,“ Art in America, Summer 1982

Smith, Roberta, ”Group Flex,“ The Village Voice, 22 June 1982

De Ak, Edit and Cortez, Diego ”Baby Talk,“ Flash Art, May 1982

Haden-Guest, Anthony, ”The New Queen of the Art Scene,“ New York Magazine, 19 April 1982

Castle, Ted, ”Michael McClard’s Faces,“ Artforum, January 1982

Yoskowitz, Robert, ”Michael McClard,“ Arts Magazime, December 1981

Acker,Kathy, ”Motive: Interview with Michael McClard“ Bomb Magazine, No.1, January 1981

Rose, Frank, ”Exploring the Art-Rock Nexus, (Part III)“ Artexpress, November 1981 (photo of ”Someone“ and ”Somebody“)

Foster, Hal, ”Michael McClard at Mary Boone,“ Art in America, December 1981 (photo of ”The Devil Goes to the Circus“)

Larson, Kay, ”Fear of Style,“ New York Magazine, 9 November 1981 Smith, Roberta, ”Space Walk,“ The Village Voice, 21 October 1981 Goldberg, Rosalee, Studio International, January 1977
Perron, Wendy, The SOHO News, 15 May 1976

Frank, Peter, The SOHO News, 15 January 1976 Moore, Alan, Artforum, Summer 1975

REVIEW QUOTES FOR MICHAEL McCLARD

“. . .An oddball but wonderful choice, for example, is Michael McClard’s ‘’Mise en Scene (circa 1500),’’ a painting based on the life of Michelangelo. Built out from the picture plane with thick plaster slabs and painted frescolike in rich colors that bring an old-master palette into the 20th century, it depicts Michelangelo in his cathedral workroom, wearing a funnel hat with a candle in it, leaning intently over a scabrous cadaver. At once affecting and funny in its comment on the profession of artist, it’s brought off with great verve.”

Grace Glueck, “Figures of Mystery,” The New York Times, Jan 7 1983 Participating artists included Susan Rothenberg and Eric Fischl.

“. . . All in all the show was a bizarre delight. . .Post-minimalist artists often used materials that were somehow tabooed, but McClard’s art is funnier than theirs. It is also more ambitious in content: the show ranged from shit to Saturn, from grotesques to Christs. Here was an art with a cosmology—the universe as delusion of grandeur. . .But the delusion seemed to know itself as such . . .

“. . .The clown, the circus, are also part of the iconography of painting . . . Artists like Schnabel and Clemente pretend to paint the great carnival of time, only to fall back on an old clown act. McClard, at least, shows signs that he knows his act for what it is . . .”

Hal Foster, “Michael McClard at Mary Boone,” Art in America, December 1981

 

Performance

1979 ”Axel Radius,“Corpes de Garde, Gronigen; De Appel, Amsterdam, Holland

1977 ”Plan K,“N.A.M.E. Gallery,Chicago Illinois
”Comedy of Pain (The Telephone Rings),“ SUNY at Buffalo, Ny

1976 ”Clamor Clobber Comb,“ Artists Space, N.Y. NY ”Temperate Tantrum,“ 17 White Street, N.Y. NY ”Merely Hearsay,“17 White Street, N.Y. NY

1975 ”Foes v. Foes (A Christmas spectacle),“ The Kitchen, N.Y. NY ”There’s Meat on These Bones,“ The Clocktower, N.Y. NY

1972 ”Moth, Flame, Phoenix (Airplane with television),“ 3675 Clementina Street, San Francisco, CA

Teaching

1983-7 School of Visual Arts, N.Y. NY, foundation drawing

1987 San Francisco Art Institute, SF, California, advanced painting

1986 Parsons School of Design, N.Y. NY, advertising design

 

Categories: exhibitions

Tags: Michael Mcclard

Gary Hill and Nam June Paik at Art Taipei 2008

February 8, 2021
Gary Hill, Language Willing
George Quasha and Gary Hill
George Quasha and Gary Hill at Art Taipei 2008
Giving lecture and discussion on “Language Beyond Its Own Limits"
August 30, 2008
Nam June Paik Beuys Voice
Nam June Paik
Beuys Voice
1990
265 x 188 x 95 cm
Gary Hill Remembering Paralinguay
Gary Hill
Remembering Paralinguay
2000, Single-channel video/sound installation
Art Taipei 2008
Art Taipei 2008 Year Project
Art & Tech - Wandering
Art Taipei 2008
Art Taipei 2008
Previous
Next

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

Related:
Gary Hill, Language Willing

Gary Hill and Nam June Paik at Art Taipei 2008

August 30 - September 2, 2008
Nam June Paik, BlueBuddha

Nam June Paik at ARTSingapore 2008

October 9 - 13, 2008
Nam June Paik Beuys Voice

NAM JUNE PAIK

George Quasha and Gary Hill

“Gary Hill & Nam June Paik” featured at Art Taipei

August 30 - September 2, 2008
John Cage and Nam June Paik, early 1970s

CAGE NAM JUNE: A Multimedia Friendship

The New Yorker on "CAGE NAM JUNE: A Multimedia Friendship"

The New Yorker on “CAGE NAM JUNE: A Multimedia Friendship”

Time Out New York recommends "CAGE NAM JUNE: A Multimedia Friendship"

Time Out New York recommends “CAGE NAM JUNE: A Multimedia Friendship”

Categories: exhibitions

Tags: Gary Hill Nam June Paik

Posts navigation

1 2 3 4 … 7

  • Website Accessibility

Š2025 Jennifer Baahng. All rights reserved.