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Category Archives: exhibitions

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
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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
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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
Janet Taylor Pickett

Janet Taylor Pickett

CONJURE
October 13 - November 30, 2025
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
Zhang Hongtu at Museo Picasso Málaga 

Zhang Hongtu at Museo Picasso Málaga 

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
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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

Janet Taylor Pickett

Janet Taylor Pickett

CONJURE
October 13 - November 30, 2025
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
Zhang Hongtu at Museo Picasso Málaga 

Zhang Hongtu at Museo Picasso Málaga 

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
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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
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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

Nam June Paik at ARTSingapore 2008

October 8, 2008
Nam June Paik, BlueBuddha
Nam June Paik, BlueBuddha
Nam June Paik
Blue Buddha
1992 – 1996
250 x 155 x 205 cm

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

 

Nam June Paik

Blue Buddha

1992 – 1996

250 x 155 x 205 cm

Courtesy of the Kim Soo Keong Collection

 

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

 

 

ARTSingapore 2008

October 9 – 13, 2008

Suntec Singapore, International Convention and Exhibition Center

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: Nam June Paik

BRIAN DAILEY: WORDS: A Global Conversation

January 19, 2020
Brian Dailey, WORDS: A Global Conversation
Brian Dailey
WORDS: A Global Conversation
Installation view
Brian Dailey, WORDS
Brian Dailey
WORDS
2012-2019
A time based multi media installation single channel video with sound
Installation view
Brian Dailey, WORDS
Brian Dailey
WORDS
2012-2019
A time based multi media installation single channel video with sound
Installation view
Brian Dailey, WORDS ON WORDS
Brian Dailey
WORDS ON WORDS
2019
Lenticular Print
24 x 48 inches (61 x 122 cm)
Edition of 25 plus 5 AP’s
Brian Dailey, WORDS ON WORDS
Brian Dailey
WORDS ON WORDS
2019
Lenticular Print
24 x 48 inches (61 x 122 cm)
Edition of 25 plus 5 AP’s
Brian Dailey, Tous les Mots
Brian Dailey
Tous les Mots
2018
Inkjet on museum etching paper 13 solos each unique
18 x 22 in. (46 x 58.5 cm)
Brian Dailey, WORDS: Human Aspects
Brian Dailey
WORDS: Human Aspects
2018
A project taxonomy with artist illustrated pennons Inkjet on museum etching paper
29 x 23 in (73.66 x 58.42 cm)
Brian Dailey, WORDS ON WORDS: United States
Brian Dailey
WORDS ON WORDS
2019
Lenticular Print
24 x 48 inches (61 x 122 cm)
Edition of 25 plus 5 AP’s
Brian Dailey, WORDS: Brazzaville, Congo, April 2019
Brian Dailey
WORDS: Brazzaville, Congo, April 2019
2020
Inkjet prints
dimension varies
Brian Dailey WORDS: Russia- War Victory
Brian Dailey
WORDS: Russia- War Victory
2012-2019
Dimension varies
Brian Dailey, WORDS: Tunisia-Unjust
Brian Dailey
WORDS: Tunisia-Unjust
2012-2019
Dimension varies
Brian Dailey, WORDS: South Korea-North Korea
Brian Dailey
WORDS: South Korea-North Korea
2012-2019
Dimension varies
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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

BRIAN DAILEY

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

Tags: Brian Dailey

BRIAN DAILEY: Polytropos

February 12, 2019
Brian Dailey, America in Color
Brian Dailey
America in Color
2013
Brian Dailey: Polytropos, installation view
Brian Dailey
Lamentations:How Many Angels Can Dance on the Point of a Needle?
Installation view
Brian Dailey, A Note to Paula
Brian Dailey
A Note to Paula
Installation view
Brian Dailey, America in Color, Matrix
Brian Dailey
America in Color, Matrix
Installation view
Brian Dailey: Polytropos, installation view
Brian Dailey: Polytropos
installation view
Brian Dailey, America in Color
Brian Dailey
America in Color
Installation view
Brian Dailey, WORDS
Brian Dailey
WORDS
Installation view
Brian Dailey: Polytropos, installation view
Brian Dailey: Polytropos
installation view
Artist Talk with Brian Dailey
Artist Talk with Brian Dailey
Artist Talk with Brian Dailey
Artist Talk with Brian Dailey
Artist Talk with Brian Dailey
Artist Talk with Brian Dailey
Previous
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Baahng Gallery is pleased to announce representation of Brian Dailey and the presentation of his first solo exhibition in the gallery, Polytropos. The exhibition features selected works from 2010 to 2018 and debuts to a New York audience his most recent monumental project WORDS, an expansive global video installation engaging with issues of language and identity under globalization.

 

Based in Washington D.C., Dailey is an artist whose work in a range of media, including photography, film, installations, and painting, draws on his unconventional evolution as an artist and reflects pressing concerns of our times. His conceptual and performance based art expands the parameters in which he works, defying easy categorization

. 

Perhaps no word better characterizes Dailey than polytropos, the first adjective Homer applies to Odysseus in The Odyssey. Translated from the Greek as well traveled, much wandering, and, in a more metaphorical sense, as the man of many twists and turns, polytropos suitably describes Dailey’s life journey. His many peregrinations have taken him from his art studies and career in Los Angeles in the 1970s to a twenty-year interlude working on arms control and international security, ultimately bringing him full circle back to his roots as an artist. These unusual experiences, which he approached with the same curiosity that has driven his art, provide a fertile source of inspiration in his idiosyncratic creative practice. 

 

Dailey’s multifaceted background is reflected in works in the exhibition such as the meditative and provocative two- and three-dimensional works from his Lamentations series, a pioneering project that manifests a novel aesthetics of nuclear iconography in post-Cold War and in the elegant and vibrant canvases from his autobiographical 14 Stations at the Crossroads, an engaging series that revisits key moments in the artist’s life journey. Equally reflective of his life experiences are the radiant and intricate digital graphite drawings, Riddles, embedded with compelling multifaceted meanings. Also on view is the dynamic mosaic of photographic portraits from Dailey’s America in Color project, a color-coded time capsule of the myriad faces of the U.S. populace, situated literally and symbolically against a backdrop of the contemporary political landscape. 

 

Brian Dailey has had solo exhibitions in Los Angeles, New York, Washington, D.C., and Bulgaria, and participated in a number of group shows in the United States, Europe, and Russia. His most recent museum exhibition, WORDS, was held at Katzen Arts Center, American University Museum in Washington D.C. in 2018, and his mid-career retrospective took place at Bulgaria’s National Art Gallery in Sofia in 2014. The evocative video Jikai–which will be on view at the gallery—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: Polytropos

A solo exhibition by Brian Dailey

November 1 – Dec 15, 2018

 

Opening reception

6-8PM, Thursday November 1, 2018

 

Artist’s Talk

6PM, November 8, 2018

Related:

Brian Dailey, WORDS: A Global Conversation

BRIAN DAILEY: WORDS: A Global Conversation

February 11 - March 17, 2020
Brian Dailey

BRIAN DAILEY

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

Tags: Brian Dailey

CAGE NAM JUNE: A Multimedia Friendship

March 8, 2019
Curated by Kenneth Silverman
John Cage and Nam June Paik, early 1970s
John Cage and Nam June Paik, early 1970s
Photo: The John Cage Trust and the John Cage Collection, Northwestern University Music Library
CAGE NAM JUNE: A Multimedia Friendship, installation view
CAGE NAM JUNE: A Multimedia Friendship
Installation view
CAGE NAM JUNE: A Multimedia Friendship, installation view
CAGE NAM JUNE: A Multimedia Friendship, installation view
Nam June Paik 1965
CAGE NAM JUNE: A Multimedia Friendship, installation view
Nam June Paik, 1965
William S. Wilson Archive
CAGE NAM JUNE: A Multimedia Friendship, installation view
Untitled, 1969
Nam June Paik
Mixed media on antique scroll
CAGE NAM JUNE: A Multimedia Friendship, installation view
Nam June Paik
Suite 212, 1977
Poster for a set of film sketches about New York to be broadcast every night in April; April 30 with John Cage
John Cage for Pulitzer Prize, John Cage NOT for Pulitzer Prize, 1965
Nam June Paik’s double-sided flyer with contrary messages about John Cage and the Pulitzer Prize
William S. Wilson Archive
CAGE NAM JUNE: A Multimedia Friendship, installation view
Cage/Cunningham, 1991
Directed by Elliot Caplan
Excerpt from Cage/Cunningham in which Nam June Paik talks about cutting off John Cage’s necktie
Courtesy of Cunningham Dance Foundation
CAGE NAM JUNE: A Multimedia Friendship, installation view
BBC footage of Nam June Paik
Filmed by Ira Schneider
Courtesy of Shigeko Kubota
CAGE NAM JUNE: A Multimedia Friendship, installation view
WGBH-TV, For A Composer And Technicians, 1971
John Cage
Correspondence and notes regarding WGBH-TV, a composition for TV that John Cage dedicated to Nam June Paik
New York City and Cambridge, Mass, September 1971
Courtesy of C.F. Peters Corporation
CAGE NAM JUNE: A Multimedia Friendship, installation view
Nam June Paik’s Music History, 500 B.C. - 1960 A.D.; ending with a quote about John Cage
William S. Wilson Archive
CAGE NAM JUNE: A Multimedia Friendship, installation view
CAGE NAM JUNE: A Multimedia Friendship, installation view
Nam June Paik’s New Years greeting card to William S. Wilson
Acrylic on circuit board
William S. Wilson Archive
CAGE NAM JUNE: A Multimedia Friendship, installation view
WGBH-TV, For A Composer And Technicians, 1971
John Cage
Correspondence and notes regarding WGBH-TV, a composition for TV that John Cage dedicated to Nam June Paik
New York City and Cambridge, Mass, September 1971
Courtesy of C.F. Peters Corporation
CAGE NAM JUNE: A Multimedia Friendship, installation view
CAGE NAM JUNE: A Multimedia Friendship, installation view
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As part of its Homage to Nam June Paik series, ZONE: Chelsea Center for the Arts celebrates the nearly thirty-five year association between Nam June Paik and John Cage– two uniquely inventive and versatile creators.

In representing the association of these two joyously adventurous artists, ZONE: Chelsea Center for the Arts will exhibit representative scores, videos, music, drawings, photographs, writings, installations, video sculpture, objets sonores, and conceptual art. At the opening night performance on October 5, 7pm, the renowned Cage interpreter, Margaret Leng Tan, will celebrate the Cage-Paik legacy with her toy piano/toy instrumental Hommage à John Cage/Nam June Paik. In addition to the opening night’s event, the gallery will host a panel discussion on October 19, 7pm. The panel consists of the Fluxus artist Alison Knowles, the dancer and dance historian David Vaughan, the vocalist/composer Joan La Barbara and the writer and critic William S. Wilson, four people who knew and worked with Cage and Paik.

 

October 5 – November 3, 2006

 

Opening reception:

Thursday October 5th, 2006

6-8pm

with performance by Margaret Leng Tan

 

 

Panel discussion on October 19, 2006

7pm, with

Alison Knowles

David Vaughan

Joan La Barbara

William S. Wilson

Kenneth Silverman

CAGE NAM JUNE: A Multimedia Friendship, New York Panel Discussion

Curatorial Statement

ZONE: Chelsea Center for the Arts celebrates the nearly thirty-five year association between John Cage and Nam June Paik.  Uniquely adventurous and versatile creators, they worked in music, video, radio, writing, sculpture, film, drama, dance, and graphic arts.

 

Their pasts make the association seem at first unlikely. Born in Los Angeles, the grandson and great-grandson of Methodist ministers, Cage was a college dropout, twenty years older than Paik. Born in Seoul, Korea, to wealthy owners of a textile company, Paik completed a graduate dissertation at the University of Tokyo.

 

The differences marked their earliest contacts. They met in 1958 at the annual International Holiday Courses for New Music in Darmstadt, Germany. As a composer, Cage was already well known for his use of chance operations based on an ancient Chinese text. Having heard that the American called upon Asiatic thought, Paik attended Cage’s concert, he later confessed, with a “very cynical mind.”

 

Cage had early misgivings about Paik, too. In 1960 he attended a performance in Cologne of Paik’s “Etude for Pianoforte.” After playing a few minutes of Chopin, Paik picked up long scissors and jumped off the stage to where Cage was sitting. Then, as Cage recalled the event, Paik “cut off my tie and began to shred my clothes, as if to rip them off of me.” After also pouring over Cage a bottle of shampoo, Paik barged through the crowd and out the door. The ‘Etude,’ Cage said, left him with a “grim memory” of Paik.

 

Yet they came to intensely enjoy and admire each other.  As Paik continued listening to Cage’s music in Darmstadt, he recalled, “slowly, slowly I got turned on. At the end of the concert I was a completely different man.” In his 1991 Two Teachershe remarked that  “Cage means ‘bird cage’ in English, but he didn’t lock me up; he liberated me.” The violence in some of Paik’s performance art—e.g. smashing a violin to bits–remained foreign to Cage, who abhorred violence. Still, when asked what he would miss most if he died tomorrow, he reportedly replied: “The conversation of Nam June Paik.”

 

They especially drew together after 1964, when Paik moved to New York  City, settling into  a loft in Soho. He loved the city, as did Cage. Much as Cage fed into a live electronic piece open telephone lines from Luchow’s Restaurant and Con Edison’s 14thstreet power station, Paik created a set of film sketches about New York, Suite 212 (1977), his title invoking the city’s area code. Cage introduced him around town, and they worked with many of the same people–Laurie Anderson, Joseph Beuys, Merce Cunningham. Paik also performed in concerts and events by Fluxus, the Dada-ish group born out of  Cage’s experimental composition  classes at the New School. 

 

And when apart they often corresponded. Paik-like, Paik sometime sent banal postcards that he comically transformed by funny drawings and cartoons. Once he mailed Cage a greeting card made of bank receipts for bum checks he had written. “Your writing is superb,” Cage replied. “Send me the least little thing you write.”

 

Paik remains best known, of course, for seeing early on and then exploring the artistic possibilities of television. His 1963 show at a gallery in Wuppertal, Germany, was the first exhibition anywhere of Video art.  Later he helped develop the video synthesizer; translating electronic impulses into abstract colors and shapes, it made the cathode ray tube a canvas. Among his many other video creations are human-shaped sculptures built  out of TV monitors, including a video sculpture of Cage. The New York Timesart critic John Canaday called him the “John Cage of the ordinary domestic TV set.”

 

A performer by nature—like Paik—Cage appeared on such popular early television programs as The Henry Morgan Showand I’ve Got A Secret; the Italian TV version of Double or Nothing (as a contestant); and on one of the earliest cable TV programs. He eagerly lent himself to Paik’s many video films. In Paik’s Global Groovehe tells an anecdote; A Tribute to John Cageshows him seated outdoors in Harvard Square, not-playing 4’33”.  For Paik’s ambitious Good Morning Mr. Orwell—a one-hour TV show transmitted by satellite between New York and Paris—Cage not only appeared but also made a lithograph to be sold by Paik in raising the million-dollar production cost. 

 

Cage particularly admired Paik’s Zen for Film—sixty minutes of shapeshifting specks of dust. He preferred it, he said,  “to any film I’ve ever seen before or after. It’s one of the great films.” Paik could be an equally ardent fan, He imagined establishing a Laser TV station to broadcast nothing but John Cage.

 

The current exhibition at ZONE: Chelsea offers some of the looks and sounds of this multimedia friendship—representative scores, music, videos, drawings, photographs,  writings, installations, video sculpture, objets sonores, and conceptual art.

 

 

                                                                                    Kenneth Silverman

 

 

Kenneth Silverman is Professor Emeritus of English at New York University. His books include Timothy Dwight; A Cultural History of The American Revolution; The Life and Times of Cotton Mathe; Edgar A. Poe Mournful and Never-ending Remembrance; HOUDINI!!!.; and Lightning Man: The Accursed Life of Samuel F. B. Morse. A fellow of the American Academy of Arts and Sciences, he has received the Bancroft Prize in American History, the Pulitzer Prize for Biography, the Edgar Award of the Mystery Writers of America, and the Christopher Literary Award of the Society of American Magicians. Currently he is writing a biography of John Cage.

SPOTLIGHT

CAGE NAM JUNE: A Multimedia Friendship, Panel Discussion in Paris
CAGE NAM JUNE: A Multimedia Friendship
Panel Discussion in Paris, Moderated by George Quasha
Saturday, October 28th 2006, 6pm

Accompanying the exhibition, CAGE NAM JUNE: A Multimedia Friendship, ZONE: Chelsea Center for the Arts presents:

Panel Discussion in Paris during Digital Video Art Fair

Moderated by George Quasha

Saturday, October 28th, 2006

6pm at Theatre La Reine Blanche

2 bis passage Ruelle, 75019 Paris, France

Panelists:

Artist Jackie Matisse

Born in France, Jackie Matisse lived in New York until 1954.  Since then she has lived in Paris making frequent visits to New York. Between 1959 and 1968 she worked for Marcel Duchamp, completing the assemblage of the “Boite en Valise”. At this time using her married name, Jacqueline Monnier, she began to make kites “in order to play with color and line in the sky”.  In 1980 she showed kites which were created to be used underwater at the Betty Parsons Gallery in New York, and since then has continued to make kitelike objects intended for three different kinds of space: the sky, the sea, and indoor space, all linked through her use of movement.

Author Charles Stein

Charles Stein is the author of Persephone Unveiled (a study of the Eleusinian Mysteries), eleven books of poetry including The Hat Rack Treeand the forthcoming From Mimir’s Headfrom Station Hill /Barrytown, Ltd., a long-term poetic project, theforestforthetrees, translations of Greek epic, philosophical, and Hermetic poetry; a critical study of the poet Charles Olson and his use of the writings of C.G. Jung called The Black Chrysanthemum(also from Station Hill Press). His work has been anthologized in such collections as Poems for the Millennium (U. of California Press), Hazy Moon Enlightenment(Shambala),Technicians of the Sacred(U. of California Press),Text-Sound Texts(Morrow), Open Poetry(Simon and Schuster) and has appeared in such magazines as American Poetry Review, Alcheringa, Caterpillar, Conjunctions, Ear Magazine, Perspectives of New Music, Temblor, Sulphur, Open Space,and many other poetry journals. He was the editor of an anthology Being=Space X Action: Searches for Freedom of Mind in Art, Mathematics and Mysticism.

He received an Individual Writer’s Grant from the National endowment for the Arts for 1978-79, and was the winner of the Wallace Stevens Poetry Prize in 1973.

 

He plays Gregory Bateson in video-installation artist Gary Hill’sWhy Do Things Get in a Muddle?and is one of the two performers (with George Quasha) in Gary Hill’s Tale Enclosure. He collaborated with Gary Hill and Paulina Wallenberg-Olsson in the creation of Dark Resonances—a performance/installation at the Colosseum in Rome.  For three decades he has worked with George Quasha in the production of “dialogical” critical texts, including three books: Hand Heard/liminal objects: Gary Hill’s Projective Installations—Number 1, Tall Ships: Gary Hill’s Projective Installations—Number 2,and Viewer: Gary Hill’s Projective Installations—Number 3.His other collaborative writing with George Quasha related to Gary Hill’s work has appeared in art catalogues of the Stedelijk Museum of Amsterdam, the Kunsthalle of Vienna, the Barbara Gladstone Gallery of New York, Public Access of Toronto, the Voyager Laserdisc Gary Hill, etc.

In collaboration with Gary Hill and George Quasha, he has performed at the Long Beach Museum of Art, California, The Museum of Modern Art, Oxford, England, The Rhinebeck Performing Arts Center.

As a multi-media artist and “Sound Poet” his graphic “Text-Sound Texts” have been anthologized and performed by himself and others; his drawings have appeared as accompaniments to his own poetry. He has performed his sound poetry at the International Sound Poetry Festival, The New Moon Festival, The New Image Theater, as well as at numerous University sponsored, music, and literary venues.

His photography has appeared in exhibitions at The College Art Gallery of SUNY New Paltz, The University of Connecticut Library in Storrs, The Arnolfini Arts Center in Rhinebeck, New York, the Robert Louis Stevenson School in New York, New York, and on the covers of numerous books of poetry and fiction.

He holds a Ph.D. in literature and has taught at SUNY Albany, Bard College’s Music Program Zero, and The Naropa Institute.

He currently resides in Barrytown, New York.

Artist Gary Hill

Gary Hill is one of the most important contemporary artists investigating the relationships between words and electronic images — an inquiry that has dominated the video art of the past decade. Originally trained as a sculptor, Hill began working in video in 1973 and has produced a major body of single-channel videotapes and video installations that includes some of the most significant works in the field of video art. His first tapes explored formal properties of the emerging medium, particularly through integral conjunctions of electronic visual and audio elements.

His installations and tapes have been seen throughout the world, in group exhibitions at The Museum of Modern Art, New York; Centre Georges Pompidou, Paris; Documenta 8, Kassel, West Germany; Long Beach Museum of Art, California; Stedelijk Museum, Amsterdam, and the Video Sculpture Retrospective 1963-1989, Cologne, West Germany, among other festivals and institutions. Hill’s work has also been the subject of retrospectives and one-person shows at The American Center, Paris; Whitney Museum of American Art, New York; 2nd International Video Week, St. Gervais, Geneva; Musee d’Art Moderne, Villeneuve d’Ascq, France; and The Museum of Modern Art, New York.

Gary Hill created new large scale works for his solo exhibition at the Fondation Cartier pour l’art contemporain in Paris, October 27, 2006 – February 4, 2007.

.

Artist Molly Davies

Molly Davies started making experimental films in the late 1960s in New York City.  For multi media performance pieces she has collaborated with artists including John Cage, David Tudor, Takehisa Kosugi, Lou Harrison, Michael Nyman, Alvin Curran, Fred Frith, Suzushi Hanayagi, Sage Cowles, Polly Motley, Jackie Matisse and Anne Carson.  Her work has been presented at such sites as the Venice Film Festival, the Centre Pompidou, Musee de l’Art Moderne de la Ville de Paris, Musee Art Contemporain Lyon, The Getty, Theatre Am Turm, the Whitney Museum, the Walter Arts Center, the Kitchen, La Mama Etc., Dance Theatre Workshop, Jacob’s Pillow Dance Festival and the Indonesian Dance Festival.  Her work is in the collections of the Getty Research Institute, the Musee Art Contemporain Lyon and the Walker Art Center.  She teaches courses in design for inter-media performances at universities in the United States, Europe and Asia.

Artist George Quasha

Artist and poet George Quasha works across mediums to explore principles in common within language, sculpture, drawing, video, sound, installation, and performance. His axial stones and axialdrawingshave been exhibited in New York’s Chelsea at Baumgartner Gallery and ZONE Chelsea Center for the Arts, and elsewhere, and are featured in the newly published book, Axial Stones: An Art of Precarious Balance(Foreword by Carter Ratcliff) (North Atlantic Books: Berkeley).

For his video installation art is: Speaking Portraits (in the performative indicative),he has filmed some 500 artists, poets, and composers (in 7 countries and 17 languages) saying “what art is.” His video works (including Pulp Friction, Axial Objects, Verbal Objects) have appeared internationally in museums, galleries, schools, and biennials. A 25 year performance collaboration (video/language/sound) continues with Gary Hill and Charles Stein.

In 2006 he was awarded a Guggenheim Fellowship in video art.

His other 14 books include poetry (Somapoetics, Giving the Lily Back Her Hands,Ainu Dreams [with Chie Hasegawa],Preverbs); anthologies (America a Prophecy [with Jerome Rothenberg], Open Poetry[with Ronald Gross],An Active Anthology[with Susan Quasha], TheStation Hill Blanchot Reader); and writing on art (Gary Hill: Language Willing;with Charles Stein: Tall Ships, HanD HearD/liminal objects,Viewer).

Awards include a National Endowment for the Arts Fellowship in poetry.  He has taught at Stony Brook University (SUNY), Bard College, the New School, and Naropa University. With Susan Quasha he is founder/publisher of Barrytown/Station Hill Press in Barrytown, New York.

CAGE NAM JUNE: A Multimedia Friendship, New York Panel Discussion
CAGE NAM JUNE: A Multimedia Friendship
Panel Discussion, Moderated by Kenneth Silverman
Thursday, October 19th 2006, 7pm
CAGE NAM JUNE: A Multimedia Friendship, New York Panel Discussion
CAGE NAM JUNE: A Multimedia Friendship
Panel Discussion, Moderated by Kenneth Silverman
Thursday, October 19th 2006, 7pm
CAGE NAM JUNE: A Multimedia Friendship, New York Panel Discussion
CAGE NAM JUNE: A Multimedia Friendship
Panel Discussion, Moderated by Kenneth Silverman
Thursday, October 19th 2006, 7pm
CAGE NAM JUNE: A Multimedia Friendship, New York Panel Discussion
CAGE NAM JUNE: A Multimedia Friendship
Panel Discussion, Moderated by Kenneth Silverman
Thursday, October 19th 2006, 7pm
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Accompanying the exhibition, CAGE NAM JUNE: A Multimedia Friendship, ZONE: Chelsea Center for the Arts presents a Panel Discussion with four people who knew and worked with Cage and Paik.

Thursday, October 19th, 200 at 6:30 pm

Panelists:

the Fluxus artist Alison Knowles

vocalist/composer Joan La Barbara

dancer and dance historian David Vaughan

writer and critic William S. Wilson

curator Kenneth Silverman

ALISON KNOWLES

ALISON KNOWLES was born in New York City. She works in the field of visual art, making performances, sound works and radio shows (Hoerspiele). She attended Scarsdale High School, Middlebury College and graduated with an honors degree in Fine Art from Pratt Institute in Brooklyn. She married the Fluxus artist Dick Higgins and worked for the Something Else Press doing special editions by silkscreen, engaged in events with the Fluxus group and birthed twin daughters Hannah B and Jessica in 1964. Her installation The Big Book was made in New York, and toured in Canada and Europe, collapsing in California in the mid-seventies. For three years she was Associate Professor of Art at California Institute of the Arts in the department of Alan Kaprow. Her computer instigated dwelling The House Of Dust is located in California as a permanent installation. During the late seventies and eighties she extended her studio to include a shop in Barrytown, New York, a stone’s throw from the Hudson River. During the eighties she has worked in Italy and Germany and Japan doing multiples, unique pieces and radio plays. Her second walk-in book The Book Of Bean from 1983 appeared in Venice. Her most recent exhibitions include “Um-Laut” in Koln and “Indigo Island” in Warsaw. She maintains a studio at 122 Spring St. in New York.

DAVID VAUGHAN

DAVID VAUGHAN was born in London and educated at Oxford University. He studied ballet with Marie Rambert and Audrey de Vos. In 1950 he continued his studies at the School of American Ballet, later studying with Antony Tudor, Richard Thomas, and Merce Cunningham. He has worked as a dancer, actor, singer, and choreographer, on film and television, in ballet and modern dance companies, and in cabaret. He is associate editor of Ballet Review and the Encyclopaedia of Dance and Ballet. He is the author of Frederick Ashton and His Ballets and the forthcoming Merce Cunningham: 50 Years, for which he received a Guggenheim Fellowship; and he has contributed to Dancers on a Plane: Cage, Cunningham, Johns and to Ornella Volta’s Satie et Ia danse. He has been associated with Merce Cunningham Dance Company since 1959, as archivist since 1976. He has taught dance history and criticism at New York University, the State University of New York/College at Purchase, the Laban Centre for Movement and Dance, the University of Chicago Dance History Seminar, and the American Dance Festival Critics’ Conference. In 1986 he was Regents’ Lecturer at the University of California.

JOAN LA BARBARA

JOAN LA BARBARA was born in Philadelphia, PA. Educated at Syracuse and New York Universities and Tanglewood/Berkshire Music Center, studying voice with Helen Boatwright, Phyllis Curtin and Marian Szekely-Freschl, she learned her compositional tools as an apprentice with the numerous composers with whom she has worked for three decades. Her career as a composer/performer/soundartist explores the human voice as a multi-faceted instrument expanding traditional boundaries, creating works for multiple voices, chamber ensembles, music theater, orchestra and interactive technology, developing a unique vocabulary of experimental and extended vocal techniques: multiphonics, circular singing, ululation and glottal clicks that have become her “signature sounds”, garnering awards in the U.S. and Europe. La Barbara has collaborated with artists including Lita Albuquerque, Cathey Billian, Melody Sumner Carnahan, Judy Chicago, Ed Emshwiller, Kenneth Goldsmith, Peter Gordon, Bruce Nauman, Steina, Woody Vasulka and Lawrence Weiner. In the early part of her career, she performed and recorded with Steve Reich, Philip Glass and jazz artists Jim Hall, Hubert Laws, Enrico Rava and arranger Don Sebesky, developing her own unique vocal/instrumental sound. In addition to the internationally-acclaimed “Three Voices for Joan La Barbara by Morton Feldman” “Joan La Barbara Singing through John Cage” and “Joan La Barbara/Sound Paintings”, she has recorded for A&M Horizon, Centaur, Deutsche Grammophon, Elektra-Nonesuch, Mode, Music & Arts, MusicMasters, Musical Heritage, Newport Classic, New World, Sony, Virgin, Voyager and Wergo. Recording projects as singer and/or producer include “Only: Works for Voice and Instruments” by Morton Feldman”; “Rothko Chapel/Why Patterns”, “John Cage at Summerstage with Joan La Barbara, Leonard Stein and William Winant”, Cage’s final concert performance on July 23, 1992 in NYC’s Central Park. La Barbara was Artistic Director of the Carnegie Hall series, “When Morty met John”, celebrating the music of John Cage and Morton Feldman and The New York School; is Artistic Director, Curator and Host of “Insights”, a new series of encounters with distinguished composers, for The American Music Center; and co-produces the “EMF 10” concert series in New York City. Joan La Barbara is a member of SAG, AFTRA, AEA, The American Music Center, and is a composer and publisher member of ASCAP.

WILLIAM S. WILSON

WILLIAM S. WILSON, who was graduated with a Ph.D. from Yale University, has taught the writing of fiction at Queens College and the Graduate Writing Division of Columbia University. Author of a book of short stories, Why I don’t write like Franz Kafka, he has been writing essays about visual art since 1964. Nam June Paik lived in a studio in his house during1964-65. He has given talks about Eva Hesse in Paris, London, San Francisco and New York.

KENNETH SILVERMAN

KENNETH SILVERMAN – Curator Kenneth Silverman is Professor Emeritus of English at New York University. His books include Timothy Dwight; A Cultural History of the American Revolution; The Life and Times of Cotton Mathe; Edgar A. Poe: Mournful and Never-ending Remembrance; HOUDINI!!!.; and Lightning Man: The Accursed Life of Samuel F. B. Morse. A fellow of the American Academy of Arts and Sciences, he has received the Bancroft Prize in American History, the Pulitzer Prize for Biography, the Edgar Award of the Mystery Writers of America, and the Christopher Literary Award of the Society of American Magicians. Currently he is writing a biography of John Cage.

Hommage to John Cage and Nam June Paik by Margaret Leng Tan
CAGE NAM JUNE: A Multimedia Friendship
Hommage to John Cage and Nam June Paik by Margaret Leng Tan
Thursday, October 5th 2006, 7pm

Accompanying the exhibition, CAGE NAM JUNE: A Multimedia Friendship, at the opening night performance on October 5, 7pm, the renowned Cage interpreter, Margaret Leng Tan,  celebrate the Cage-Paik legacy with her toy piano/toy instrumental Hommage to John Cage/Nam June Paik. 

Thursday, October 5th, 2006 at 7 pm

Program

HOMMAGE to JOHN CAGE/NAM JUNE PAIK

by

MARGARET LENG TAN

toy piano, toy instruments

HOMMAGE to NAM JUNE PAIK (2006)  – first performance

Margaret Leng Tan

SUITE FOR TOY PIANO (1948)

John Cage

4′ 33″ (1952

 John Cage

from OLD McDONALD’S YELLOW SUBMARINE (2004) – BICYCLE LEE HOOKER toy piano, bicycle bell and horn, train whistle

Erik Griswold

CHOOKS – toy piano and wood blocks

Margaret Leng Tan

5’29.75″ FOR SIX TOY PLAYER PIANOS / Elegy for Nam June (2006) – first performance

Erik Griswold

STAR-SPANGLED ETUDE #3 (“Furling Banner”) (1996) – toy piano, siren, whistle, cap gun

Raphael Mostel

Margaret Leng Tan

Margaret Leng Tan has established herself as a major force within the American avant-garde; a highly visible, talented and visionary pianist whose work sidesteps perceived artificial boundaries within the usual concert experience and creates a new level of communication with listeners. Embracing aspects of theater, choreography, performance and even “props” such as the teapot she “plays” in Alvin Lucier’s Nothing is Real,Tan has brought to the avant-garde, a measure of good old-fashioned showmanship tempered with a disciplinary rigor inherited from her mentor John Cage. This has won Tan acceptance far beyond the norm for performers of avant-garde music, as she is regularly featured at international festivals, records often for adventurous labels such as Mode and New Albion and has appeared on American public television, Lincoln Center and even at Carnegie Hall.   

Born in Singapore, Tan was the first woman to earn a doctorate from Juilliard, but youthful restlessness and a desire to explore the crosscurrents between Asian music and that of the West led her to Cage. This sparked an active collaboration between Cage and Tan that lasted from 1981 to his death, during which Tan gained recognition as one of the pre-eminent interpreters of Cage’s piano music, partly through her New Albion recordings, Daughters of the Lonesome Isleand The Perilous Night/Four Walls. After Cage’s death in 1992, she was chosen as the featured performer in a tribute to his memory at the 45th Venice Biennale.

Tan takes a lively interest in the musical potential of unconventional and unlikely instruments, and in 1997 her groundbreaking CD, The Art of the Toy Piano on Point Music/Universal Classics elevated the lowly toy piano to the status of a “real” instrument. Tan is certainly the world’s first, and so far, only professional toy piano virtuoso. Since then her curiosity has extended to other toy instruments as well, substantiating her credo “Poor tools require better skills” (Marcel Duchamp).

Tan favors music that confronts and defies the established boundaries of the piano and her toy instruments and has collaborated with like-minded composers to create works for her, such as Somei Satoh, Tan Dun, Michael Nyman, Julia Wolfe, Toby Twining and Ge Gan-ru; she is also a favorite of composer George Crumb. Tan’s authority on matters of Cage has evolved from that of an expert interpreter to responsible scholar protecting the textual integrity of his work; Tan edited the fourth volume of Cage’s piano music for C. F. Peters and in 2006 gave the premiere of his newly discovered 1944 work Chess Pieces, which she also edited for publication. Tan’s Mode DVD of Cage’s Sonatas and Interludes includes a video in which she examines the original, 1940s era preparation materials for the work. Photogenic and comfortable with the camera, Tan is the subject of a feature documentary by filmmaker Evans Chan, Sorceress of the New Piano: The Artistry of Margaret Leng Tan,which receives its New York premiere at the Pioneer Two Boots Theater on September 23/24.

Related:

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: CAGE NAM JUNE

MOLLY DAVIES

March 8, 2019
Molly Davies, invitation card
Molly Davies
Invitation card
Molly Davies, Desire
Molly Davies
Desire
Video/sound installation
Molly Davies, Dressing, installation view
Molly Davies
Dressing
Installation view
Molly Davies, Sea Tails, installation view
Molly Davies
Sea Tails
Installation view
Molly Davies, Desire, installation view
Molly Davies
Desire
Installation view
Molly Davies, Pastime
Molly Davies
Pastime
Slide/video/sound installation
Molly Davies, Pastime, installation view
Molly Davies
Pastime
Installation view
Molly Davies, installation view
Molly Davies, installation view
Molly Davies, Sea Tails
Molly Davies
Sea Tails
Video/sound installation
Molly Davies, installation view
Molly Davies, installation view
Molly Davies, installation view
Molly Davies, installation view
Molly Davies, installation view
Molly Davies, installation view
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Zone: Chelsea Center for the Arts is proud to present a retrospective of video installation works by artist Molly Davies.  A film and video artist, Davies started making experimental films in the late 1960s. She became well known in the 1970s for her innovative work with film and performance, collaborating with contemporary choreographers, performers and composers.  The exhibition will focus on Davies’ unique collaboration between mediums and will feature four major installation works spanning three decades. The exhibition will also include a screening booth with Davies’ documentary film performance pieces that were made for the theater.    

 

Her work explores movement of the performing body and film, distilling the everyday to suggest undercurrents of desire, isolation and joy.  Juxtaposing images to create layers of meaning, her work immerses the viewer into striking, poetic worlds, using multiple projections, screens and monitors to enhance the reflexive, abstract themes within the visual/sound compositions. Noted for her richly textured work, Davies brings the complex, subtle rhythms of movement and time altering medium of video into compelling spatial arrangements to provide multiple perspectives on the nuances of the everyday.  

 

The exhibition includes DAVID TUDOR’S OCEAN (1994), a six-channel piece, documenting three performances of the first tour of Merce Cunningham Dance Company’s acclaimed work Ocean, with composer David Tudor and Takehisa Kosugi performing live.  This video/sound installation presents a portrait of David Tudor, detailing process and accumulation.  It is a meditation on the elaborate tableau of electronic music making in relation to the parallel dance making of Merce Cunningham.  The installation takes an imaginative behind-the-scenes look at set-up, rehearsal and live performance.  This work is in the permanent collection of the Walker Art Center, The Getty Research Institute and Musée Art Contemporain Lyon.  (92 minutes continuous loop)

 

Also to be shown will be SEA TAILS (1983), a three-channel, six monitor piece, that integrates an evocative electronic score by David Tudor with film footage of French artist Jackie Matisse’s extraordinary underwater kites.  This mesmerizing work presents the sculptural patterns of Ms. Matisse’s kites as they float, swirl, and shift gracefully and randomly through the oceans’ current, suspending time and space.  Originally presented at the Centre Pompidou in Paris, this piece is in the permanent collection at The Getty Research Institute.  (22 minutes continuous loop)

 

The exhibit will include the premiere of Davies’ work DESIRE(2002), a three-channel, three- screen installation with text by renowned poet Anne Carson.  A quiet drama that centers on a day in the life among three friends, DESIRE is imbued with emotional temporal states juxtaposed with a vibrant colorful landscape. The installation uses color video projected side by side on the wall and three-channels of amplified mono sound. (12 minutes continuous loop)             

 

In PASTIME(1995), a provocative slide/video/sound installation built of layers with three projection surfaces and a sound collage, Davies addresses the beauty and poignancy of the quotidian. The installation, like its subject matter, deals with reflection, light, fragments and distortion as the slides and videos constantly dissolve.  A woman and a boy wrestle on a raft, playing “king of the mountain”. With gestures that suggest love, conflict, power and eroticism, the work reveals the fragility of the moment, of a certain time in a relationship, of a mid-summer day, and the innocence of coming of age.  (12 minutes continuous loop)

 

The exhibition will include several documentations of film and performances pieces created by Davies from 1976-2005.  Among the documented works are Arrivals & Departures(1988); deChirico’s Daughter (1992); Palm at the End of the Mind(1983); Sage Cycle, including Sage Time and Again, Grasslands and Sageand Third Thought(originally created 1976-79, reconstructed in 2005); and Small Circles Great Plains(originally created 1976-79, reconstructed in 2005).

 

Molly Davies has been working as a film and video artist for over 30 years.  For her multimedia performance pieces, she has collaborated with artists John Cage, David Tudor, Michael Nyman, Takehisa Kosugi, Lou Harrison, Alvin Curran, Fred Frith, Suzushi Hanayagi, Sage Cowles, Polly Motley, Jackie Matisse and Anne Carson.  Her work has been presented at the Venice Film Festival, the Centre Pompidou, Musée de l‘Art Moderne de la Ville Paris, Musée Art Contemporain Lyon, The Getty, the Whitney Museum, the Walker Art Center, Asia Society, Theatre Am Turm, The Kitchen, Dance Theater Workshop, La MaMa Etc., Jacob’s Pillow Dance Festival, and the Indonesian Dance Festival.  She teaches courses in design for inter-media performances at universities in the United States, Europe and Asia.

 

January 12 – March 11, 2006

Opening reception:

Thursday January 12th, 2006

6-8pm

 

 

 

Reviews

 

the new york times logo

The New York Times includes “Molly Davies” in The Week Ahead

January 22, 2006
the new york times logo

The New York Times selects “Molly Davies”

February 10, 2006
The Villager logo

The Villager interviews Molly Davies

January 18 – 24, 2006

Touring Activity
Asia Society and Museum,
New York, NY
TRADITIONS, INVENTIONS, AND EXCHANGEJune 28 through August 21, 2005
Walker Art Center
Minneapolis, MN
SPACE, TIME AND ILLUSION-
ISSUES OF FILM WITH PERFORMANCE
May 11, 2005
Dance Theatre Workshop
New York, NY
SPACE, TIME AND ILLUSION-
ISSUES OF FILM WITH PERFORMANCE
April 18 & 19, 2005
Zone Chelsea,
New York, NY
DISTANCE BETWEEN GESTURE AND MEANINGSApril 5 through 15, 2005
Smith College, Department of Art
North Hampton, MA
DRAWING FROM THE BODY
Performance
March 8, 2005
Getty Research Institute Exhibition Gallery
Los Angeles, CA
SEA TAILSJuly 13 -September 26, 2004
Bates Museum of Art, Lower Gallery
at
Bates Dance Festival,
Lewiston, ME
TRADITIONS, INVENTIONS, AND EXCHANGEAugust 9 through 16, 2003
2002 Bienalle
Lyon France
Musee Art Contemporain Lyon
DAVID TUDOR’S OCEANMarch, 2002
Texas Gallery
Houston, TX
KAREN TAPESDecember, 2001
Block Gallery
Northwestern University
Evanston, IL
PASTIMESeptember – December, 2001
Getty Museum of Art
Los Angeles, CA
DAVID TUDOR’S OCEANMay, 2001
Argentinian Embassy
New York City, NY
DAVID TUDOR’S OCEANMarch, 2001
The New School for Social Research
New York City, NY
KAREN TAPESMarch 1st, 2001
Tulane University
New Orleans, LA
DRAWING FROM THE BODY
Performance / Video Installation
February – May, 2001
Mingei International Museum
San Diego, CA
SEA TAILSApril – November, 2000
Santa Cruz Museum of Art
and History
Santa Cruz, CA
MIGRATION
DISLOCATION
BRANCUSI’S BASKETS
July – November, 2000
The Kitchen
New York City, NY
MARGUERITE
Summer Residence with Polly Motley
June, 2000
Selby Gallery
Sarasota, Florida
“PLUGGED IN”
Installations of:
DRESSING
DISLOCATION
BRANCUSI’S BASKETS
March – April, 2000
Mousonturm
Frankfurt A/M, Germany
DRAWING FROM THE BODY
Performance/ Video
Installation
August 24,25, 1999
Flynn Theater
Stowe, Vermont
aJune – July, 1999
Jack Tilton Gallery
New York, NY
DRAWING FROM THE BODY
Performance/Video Installation
February 24, 1999
The Galleries at Moore
Philadelphia, PA
SEA TAILSJanuary 22-March 14, 1999
Jack Tilton Gallery
New York, NY
DRAWING FROM THE BODY
Performance/ Video
Installation
December 10, 1998
Walker Arts Center
Minneapolis, MN
DAVID TUDOR’S OCEAN
Video Installation
June 28- Sept 21, 1998
Deutschlandfunk
Redaktion E-Musik
Köln, Germany
DAVID TUDOR’S OCEAN
Video Installation
March, 1998
The Kitchen
New York, NY
DAVID TUDOR’S OCEAN
Video Installation
Oct 30 – Nov 26, 1997
Dancespace
New York, NY
IN THE MANNER OF
EDWARD HOPPER
October, 1996
Judson Memorial Church
New York, NY
DAVID TUDOR’S OCEAN
Video Installation
September 17, 1996
Naropa Institute
Boulder, CO
BROWNIEFAXJanuary, 1996
Kitchen Center for Video and Music
New York, NY
YOU CAN SING ANY TIMEApril, 1995
University of Colorado
Boulder, CO
YOU CAN SING ANY TIMEMarch, 1995
Jacob’s Pillow Dance Festival
Lee, MA
FOLK DANCE
YOU CAN SING ANYTIME
August, 1994
Movement Research
New York, NY
WAITINGDecember, 1993
Dance Theatre Workshop
New York, NY
FOLK DANCESeptember, 1993
Naropa Institute
Boulder, CO
SUPERFICIAL DISSOLVEMay, 1993
University of Colorado
Boulder, CO
DE CHIRICO’S DAUGHTER
PART II
May, 1992
Naropa Institute
Boulder, Co
DE CHIRICO’S DAUGHTER
PART I
February, 1992
Justus Liebig University
Giessen, Germany
REICHE OHNE SINNE PROJECTJanuary – February, 1991
University of Colorado
Boulder, CO
COLLABORATION WITH POLLY MOTLEYApril, 1991
Heiner Müller Project
Frankfurt, Germany
“BILDBESCHREIBUNG”April, 1990
La Mama E.T.C.
New York, NY
MANA GOES TO THE MOONJanuary 9-27, 1990
Theatre am Turm
Frankfurt, Germany
ARRIVALS AND DEPARTURESApril 20 – 24, 1988
Tampere Theater Festival
Finland
ARRIVALS AND DEPARTURESAugust 15-16 1988
La Mama E.T.C.
New York, NY
ARRIVALS AND DEPARTURESMay 5-29, 1988
Whitney Museum of American Art at Phillip Morris
New York City, NY
SEA TAILSSeptember 17, 1986
The Albuerque Museum of Art, History and Science
Albuquerque, New Mexico
SAGE CYCLE Part III
SMALL CIRCLES GREAT PLAINS
June 22, 1985
Theatre Am Turm
Frankfurt, Germany
ATEMJune 6, 1985
Centre Georges Pompidou
Paris, France
Comissionedwork from TAT
PALM AT THE END OF THE MIND
PREPARING THE GROUND
May 24-26, 1985
Theater am Turm
Frankfurt, Germany
Commissioned work from TAT
PREPARING THE GROUND
April 18-21, 1985
May 28-31, 1985
Wesleyan College
Middletown, CT
SAGE CYCLE ALL PARTS:
I. SAGE TIME AND AGAIN
II.GRASSLANDS AND SAGE
III.SMALL CIRCLE GREAT PLAINS

&
PALM AT THE END OF THE MIND
January 25-26, 1985
Collective for Living Cinema
New York, NY
BEYOND THE FAR BLUE MOUNTAINSJanuary 12, 1985
Fine Arts Museum
Taipei, Taiwan
SEA TAILSAugust, 1984
Museum of Modern Art
Stockholm, Sweden
SEA TAILSAugust 21, 22, 24, 1984
Akademie der Kunste
Berlin, Germany
PARIS PIECEJune 22, 1984
Center Georges Pompidou
Paris, France
SEA TAILSJune 3-27, 1984
Saarbruken
Germany
BEYOND THE FAR BLUE MOUNTAINSJune 4, 1984
Kammer Theater
Wurttembergische Staats-Theater
Stuttgart, Germany
THE PALM AT THE EDGE OF THE MIND
&
SAGE CYCLE ALL PARTS:
I. SAGE TIME AND AGAIN
II.GRASSLANDS AND SAGE
III.SMALL CIRCLE GREAT PLAINS
June 29, 1984
Akademie Der Kunst
Berlin, Germany
SEA TAILSFebruary 1 – 5 1984
Theatre Am Turm
Frankfurt, Germany
Retrospective:
THE PALM AT THE END OF THE MIND
THE WEATHER WAS PERFECT
SMALL CIRCLES GREAT PLAINS
SAGE CYCLE
BEYOND THE FAR BLUE MOUNTAINS
ATEM
SEA TAILS
October 27 – 31, 1983
The Walker Arts Center
Minneapolis, MN
BEYOND THE FAR BLUE MOUNTAINSMay 7 – 8, 1983
Kommonales Kino
Stuttgart, Germany
THE WEATHER WAS PERFECT
BEYOND THE FAR BLUE MOUNTAINS
4-Feb-83
Arsenal
Berlin, Germany
THE WEATHER WAS PERFECT
BEYOND THE FAR BLUE MOUNTAINS
November, 1982
Wurttembergische Staats-theater
Stuttgart, Germany
THE WEATHER WAS PERFECTOctober 31, 1982
Walker Art Center
Minneapolis, MN
THE WEATHER WAS PERFECTSeptember 19, 1982
Venice Film Festival
Venice, Italy
BEYOND THE FAR BLUE MOUNTAINSSeptember 3, 1982
Cabrillo Music Festival
Aptos, California
BEYOND THE FAR BLUE MOUNTAINSAugust 21, 1982
Basel Art Fair (Stampa)
Basel, Switzerland
BEYOND THE FAR BLUE MOUNTAINSJune 21, 1982
Amerika Haus
Munich, Germany
BEYOND THE FAR BLUE MOUNTAINSJune 16, 1982
Centre Georges Pompidou
Pairs, France
BEYOND THE FAR BLUE MOUNTAINSJune 10-11 1982
Hampshire College
Amherst, MA
SAGE CYCLE Part III
SMALL CIRCLES GREAT PLAINS
16-Feb-81
University of Wisconsin
Madison, WI
SAGE CYCLE Part III
SMALL CIRCLES GREAT PLAINS
7-Feb-81
Kunsthaus
Zurich, Switzerland
SAGE CYCLE Part III
SMALL CIRCLES GREAT PLAINS
May, 1981
Kunstehalle
Basel, Switzerland
SAGE CYCLE Part III
SMALL CIRCLES GREAT PLAINS
May 20-21 1981
Akademie der Kunst
Berlin, Germany
SAGE CYCLE ALL PARTS:
I. SAGE TIME AND AGAIN
II.GRASSLANDS AND SAGE
III.SMALL CIRCLE GREAT PLAINS
May 12-14, 1981
Sprengel Museum
Hannover, Germany
SAGE CYCLE ALL PARTS:
I. SAGE TIME AND AGAIN
II.GRASSLANDS AND SAGE
III.SMALL CIRCLE GREAT PLAINS
May 9-10, 1981
Theater Am Turm
Frankfurt, Germany
SAGE CYCLE Part III
SMALL CIRCLES GREAT PLAINS
April 25 – 28, 1981
Centre Georges Pompidou
Paris, France
SAGE CYCLE Part III
SMALL CIRCLES GREAT PLAINS
April 22-23, 1981
The Mickery
Amsterdam, the Netherlands
SAGE CYCLE ALL PARTS:
I. SAGE TIME AND AGAIN
II.GRASSLANDS AND SAGE
III.SMALL CIRCLE GREAT PLAINS
April 7 – 11, 1981
April 14 – 18, 1981
Massachusetts Institute of Technology
Boston, Massachusetts
SAGE CYCLE Part III
SMALL CIRCLES GREAT PLAINS
March 1st, 1981
Montreal Museum of Fine Arts
Montreal, Canada
SAGE CYCLE Part III
SMALL CIRCLES GREAT PLAINS
27-Feb-81
Smithsonian Institution
Hirshorn Museum
Washington, D.C.
SAGE CYCLE ALL PARTS:
I. SAGE TIME AND AGAIN
II.GRASSLANDS AND SAGE
III.SMALL CIRCLE GREAT PLAINS
February 21 – 23, 1981
Stowe Center for the Performing Arts
Stowe, Vermont
SAGE CYCLE Part III
SMALL CIRCLES GREAT PLAINS
February 24-25, 1981
Hampshire College
Amherst, MA
SAGE CYCLE Part III
SMALL CIRCLES GREAT PLAINS
16-Feb-81
University of Wisconsin
Madison, WI
SAGE CYCLE Part III
SMALL CIRCLES GREAT PLAINS
7-Feb-81
Walker Arts Center
Minneapolis, MN
SAGE CYCLE Part I
SAGE TIME AND AGAIN
October, 1980
Cabrillo Music Festival
Aptos, CA
SAGE CYCLE Part III
SMALL CIRCLES GREAT PLAINS
August, 1980
Walker Arts Center
Minneapolis, MN
SAGE CYCLE Part III
SMALL CIRCLES GREAT PLAINS
May and June, 1980
Rising Sun Video Center
Santa Fe, New Mexico
SAGE CYCLE Part I & II
SAGE TIME AND AGAIN
GRASSLANDS AND SAGE
May, 1980
Musee d’Art de Moderne de la Ville de Paris
Paris, France
SAGE CYCLE ALL PARTS:
I. SAGE TIME AND AGAIN
II.GRASSLANDS AND SAGE
III.SMALL CIRCLE GREAT PLAINS
December, 1979
University of Wisconsin
Madison, WI
SAGE CYCLE Part I & II
SAGE TIME AND AGAIN
GRASSLANDS AND SAGE
March, 1979
Department of Dance and Architecture
University of Utah
Salt Lake City, UT
SAGE CYCLE Part I & II
SAGE TIME AND AGAIN
GRASSLANDS AND SAGE
November, 1978
IDEA Gallery
Los Angeles, CA
SAGE CYCLE Part I & II
SAGE TIME AND AGAIN
GRASSLANDS AND SAGE
November, 1978
University of California
San Diego, CA
SAGE CYCLE Part I & II
SAGE TIME AND AGAIN
GRASSLANDS AND SAGE
November, 1978
American Contemporary Dance Company/ Seattle Art Museum
Seattle, Washington
SAGE CYCLE Part I & II
SAGE TIME AND AGAIN
GRASSLANDS AND SAGE
November, 1978
Pittsburgh Filmmakers
Pittsburgh, PA
SAGE CYCLE Part I & II
SAGE TIME AND AGAIN
GRASSLANDS AND SAGE
November, 1978
Walker Art Center
Minneapolis, MN
SAGE CYCLE Part I
GLASSLANDS AND SAGE
May, 1978
Cunningham Studio, Westbeth
New York, NY
SAGE CYCLE Part I
GLASSLANDS AND SAGE
May, 1978
San Francisco Museum of Art
San Francisco, CA
SAGE CYCLE Part I
GRASSLANDS AND SAGE
April, 1978
Anthology Film Archives
NYC, NY
SAGE CYCLE Part I & II
SAGE TIME AND AGAIN
GRASSLANDS AND SAGE
February, 1978
Massachusetts Institute of Technology
Boston, MA
SAGE CYCLE Part I & II
SAGE TIME AND AGAIN
GRASSLANDS AND SAGE
January, 1978
Cabrillo Music Festival
Aptos, CA
SAGE CYCLE Part I & II
SAGE TIME AND AGAIN
GRASSLANDS AND SAGE
August, 1977
THE KITCHEN
New York, NY
SAGE CYCLE Part I
SAGE TIME AND AGAIN
&
ABOUT THE LILTING HOUSE
April, 1977
Walker Art Center
Minneapolis, MN
SAGE CYCLE Part I
SAGE TIME AND AGAIN
&
ABOUT THE LILTING HOUSE
March, 1977
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MOLLY DAVIES

Molly Davies, invitation card

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January 12 - March 11, 2006
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