Baahng Gallery is pleased to announce the representation of artist Shelter Serra.  The inaugural solo exhibition at the gallery HOUSE ON FIRE is on view from October 27 through December 27, 2016.  The Artist Reception will be held on Tuesday, 6-8 pm, November 15, 2016.  


HOUSE ON FIRE showcases a series of new paintings and small survey of sculptures that represent a cross-section of contemporary American life: high fashion, luxury items, media and press, territory issues, surveillance, nostalgic classic Americana.  After the financial collapse of 2008, the version of the American Dream that we have come to know is now a relic.  In the headline painting of this exhibition, the fire that is overtaking the house is marking the end of the old as well as clearing the way for a new beginning.  Although the opportunity to start anew is comforting, the viewer is also forced to reflect on where the cultural aspirations of the American Dream should now lay.  Shelter Serra’s works exhibited in this show invite viewers to give the meaning of the American Dream a much-needed update.


Born in 1972 in Bolinas, California, Shelter Serra completed a BA in Studio Art from the University of California at Santa Cruz and an MFA in Painting & Printmaking at the Rhode Island School of Design.  His work has been exhibited nationally and internationally at galleries and museums including Mead Carney Gallery, Marlborough Gallery, Perry Rubenstein Gallery, Renwick Gallery, Bolinas Museum, and Maryland Institute of Art.  He currently works and lives in New York.

October 27 – December 27, 2016



Opening reception:

Tuesday November 15th, 2016





House on Fire by Shelter Serra, installation view


October 27 - December 27, 2016
Shelter Serra, House on Fire


November 15, 2016

Categories: exhibitions



Phase Conception by Nobuo Sekine

Jennifer Baahng Gallery is pleased to present TWO ROCKS, an exhibition for artists Nobuo Sekine and Zhang Hongtu.  The exhibition will showcase a selection of their paintings, sculptures, and multi-media installations, from the 1980’s and 1990’s.  The exhibition will run from September 20th through October 21, 2017.

TWO ROCKS showcases the work of modern sages, Nobuo Sekine and Zhang Hongtu, from the 1980’s and 1990’s, pivotal years in their contributions to art. 

September 20 – October 21, 2017


Opening reception:

Wednesday, September 20th, 2017



Artists in the exhibition

Nobuo Sekine

Zhang Hongtu


Zhang Hongtu

Concurrently, in the late 1980’s, Zhang, a forerunner of Political Pop Art, immigrated to New York where he would discover Pop Art against the geopolitical backdrop of the 1989 Tiananmen Square Massacre.  Zhang is known for using various painting styles and media to produce artistic critiques of the Chinese Cultural Revolution, including through his appropriating images of Mao Zedong.  His newer works have branched into environmental concerns, and include his classical Chinese landscape paintings, which, traditionally painted in black-and-white, are added with sensuous, toxic colors. 

Born in 1943 in Pingliang, China, Zhang Hongtu is the recipient of awards, including from the Pollock Krasner Foundation in 1991 and the National Endowment for Arts in 1995.  His works have been exhibited internationally, including at Bronx Museum, Kaohsiung Museum in Taiwan, Museu Picasso in Spain, Queens Museum, The Deichtorhallen in Germany, Israel Museum, and Metropolitan Museum of Art.  Guggenheim Museum in New York will showcase Zhang Hongtu’s Vitrine, 1986-1995 in the upcoming exhibition “Art and China After 1989: Theater of the World.”   TWO ROCKS will feature paintings, sculptures, and multi-media installations by Zhang, including Self-Portrait in the Style of the Old Masters, The Red Door, and Re-Make of Ma Yuan’s Water Album (780 Years Later).

Nobuo Sekine

Sekine is a key founder of Mono-ha, a group of artists that gained prominence in Tokyo in the late 1960’s for their rejection of the traditional ideas of representation.  Primarily known as a sculptor, Sekine incorporates natural and industrial materials in his work, and his work explores the properties and interdependency of these materials with their surrounding space.  In the late 1980’s, he returned to his original training as a painter, and began creating Phase Conception – a series of “paintings” of phases.  The phases are made out of thick Japanese handmade paper, cut out, torn, pasted back onto the remaining surface, and coated with either gold leaf or black lead.  They are based on a topological geometry concept as applied to space, which is that the continuous transformation of form does not affect the sum total of the form’s mass.  

Born 1942 in Saitama prefecture, Japan.

Graduated in 1968 with a M.F.A. in Painting, studying under artist Yoshishige Saito.

From 1968 into the 1970s, Sekine worked internationally as a central figure of “Mono-ha” (translated literally as “School of Things”), a movement considered instrumental in the formation of postwar Japanese art.  Phase—Mother Earth, an earthwork first constructed in Suma Rikyu Park, Kobe, in 1968, is widely recognized as marking the beginning of Mono-ha, and as one of the most iconic works of this period in Japan.

In 1970, Sekine represented Japan in the Venice Biennale with Phase of Nothingness, consisting of a large natural stone supported by a mirrored stainless steel column.  The sculpture is now in the permanent collection of the Louisiana Museum of Modern Art in Humlebæk, Denmark.  Sekine remained in Europe after the Biennale, exhibiting in Italy, Switzerland, and Denmark.  Informed by his observations on art and architecture, urban and public space in Europe, Sekine returned to Japan to establish Environmental Art Studios, a public art agency, in 1973.

From 1978 to 1979, Sekine returned to Europe for the traveling exhibition of his work Phase of Nothingness—Black.  The solo exhibition toured from the Künsthalle Dusseldorf, Germany, to the Louisiana Museum of Modern Art, Humlebæk, Denmark; the Kröller-Müller Museum, Otterlo, Netherlands; and the Henie-Onstad Art Centre, Høvikodden, Norway.

In 1993, Sekine and Phase—Mother Earth were cited by 30 participating critics, curators, and journalists in the survey “Sengo bijutsu besuto ten” (Postwar art best ten), featured in the prominent art magazine Bijutsu Shinchō.

In 2001, Sekine was included in the exhibit Century City at the Tate Modern, London, for his critical role in the burgeoning Tokyo art scene between 1969 and 1973.  He also participated in the Gwangju Biennale, Korea, the same year.

Selected exhibitions of Sekine and Mono-ha include Reconsidering Mono-ha, The National Museum of Art, Osaka, 2005; What is Mono-Ha? Beijing Tokyo Art Projects, Beijing, 2007; Requiem for the Sun: The Art of Mono-ha, Blum & Poe, Los Angeles, 2012; Art Unlimited, Art Basel, Basel, 2013; Prima Materia, Punta Della Dogana, Venice, 2013; Parallel Views: Italian and Japanese Art from the 1950s, 60s, and 70s,The Rachofsky Warehouse, Dallas, Texas, 2013.

Sekine is currently Visiting Professor at Tama Art University and Kobe Design University.

Selected Solo Exhibitions 

2014 Blum & Poe, Los Angeles, CA 

2011 Re-creations 1970/2011, Kamakura Gallery, Kamakura, Japan Monogatari, Shanghai Sculpture Space, Shanghai,China 

2010 BE-UP-ART, Tokyo, Japan
2009 Center Gallery, Yokohama, Japan 

Kawagoe Gallery, Kawagoe, Japan 

2008 Gallery Bijutsu Sekai, Tokyo, Japan Gallery Art Composition, Tokyo, Japan 

PYO Gallery, Seoul, Korea 

2007 Center Gallery, Yokohama, Japan Gallery Bijutsu Sekai, Tokyo, Japan 

Shina Gallery, Kyoto, Japan 

2006 Saint Paul Gallery, Maebashi, Japan Gallery Bijutsu Sekai, Tokyo, Japan 

2005 Gallery Bijutsu Sekai, Tokyo, Japan
MANIF 11! ’05 SEOUL, Seoul Art Center, Seoul, Korea 

2004 Movement, Feeling, Environment, Tokyo Gallery + BTAP, Beijing,China Art Dune, Hamamatsu, Japan 

Phase of Nothingness – Black from 78-79 solo exhibition in Europe, Kamakura Gallery, Kamakura, Japan 

2003 Kawagoe City Art Museum, Saitama, Japan 

2001 Art Dune, Hamamatsu, Japan
1999 Museum Shokyodo, Aichi, Japan
1998 Saint Paul Gallery, Maebashi, Japan 

1997 Kawagoe Gallery, Kawagoe, Japan Art Dune, Hamamatsu, Japan 

1996 Archaeology of Phase – Mother Earth, Otani Memorial Art Museum, Nishinomiya, Japan 

1995 Gallery Art Point, Tokyo, Japan Galleri Akern, Kongsberg, Norway 

1994 Art Dune, Hamamatsu, Japan 

1993 Sakura Gallery, Nagoya, Japan 

1992 Museum Shokyodo, Aichi, Japan
Nobuo Sekine, Soko Tokyo Gallery, Tokyo, Japan 

1991 Kawagoe Gallery, Kawagoe, Japan
Tenmaya Department Store, Okayama, Japan 

Anshindo Gallery, Shizuoka, Japan Art Dune, Hamamatsu, Japan 

1990 Tenjuen, Niigata, Japan
Soko Museum, Niigata, Japan Atelier Gallery, Niigata, Japan 

Sogo Department Store, Hiroshima, Japan
Seibu Department Store – Studio 5, Tokyo,Japan Mitsukoshi Department Store, Tokyo, Japan 

1989 Kodosha, Ichinoseki, Japan Gallery Lamia, Tokyo, Japan 

Chikugo Gallery, Kurume, Japan
Mitsui Gallery, Matsudo, Japan
Gallery TAK, Yokohama, Japan
Susono Art House, Susono, Japan
Kozaido Gallery, Tokyo, Japan
Kobundo Gallery, Obihiro, Japan Gojuichiban-kan Gallery, Aomori, Japan Gallery Picasso, Maebashi, Japan Katsuyama Isozaki Hall, Fukui, Japan Stempfli Gallery, New York, New York Umeda Modern Art Museum, Osaka, Japan 

1988 Gallery M, Obama, Japan
Art Dune, Hamamatsu, Japan 

Kozaido Gallery, Tokyo, Japan Nishida Gallery, Nara, Japan
Soh Gallery, Tokyo, Japan Anshindo Gallery, Shizuoka, Japan Gallery Kura, Kitakyushu, Japan We Gallery, Omiya, Japan 

1987 Ginza Jiyugaoka Gallery, Tokyo Gallery Te, Tokyo, Japan 

Kawagoe Gallery, Kawagoe, Japan Sakura Gallery, Nagoya, Japan Tokyo Gallery, Tokyo, Japan 

1985 Akiyama Gallery, Tokyo, Japan
1983 Sekine and Environment Art Studio, Stripe House Museum, Tokyo, Japan 

1982 Sekine’s Prints and Sculptures: Cross Country 7500Km, Keneko Art Gallery, Tokyo, Japan 

1981 Kaneko Art Gallery, Tokyo, Japan Sakura Gallery, Nagoya, Japan 

1980 Kaneko Art Gallery, Tokyo, Japan Tokyo Gallery, Tokyo, Japan 

1978 Nobuo Sekine: Skulptor 1975-1978, Kunsthalle, Dusseldorf, Germany; traveled to Louisiana Museum of Art, Humlebæk Denmark; Kröller-Müller Museum, Otterlo, Netherlands; Henie-Onstad Art Centre, Høvikodden, Norway 

1977 Kaneko Art Gallery, Tokyo, Japan Sakura Gallery, Nagoya, Japan 

Tokyo Gallery, Tokyo, Japan

1976 Gallery Dori, Tokyo, Japan 

1975 Sakura Gallery, Nagoya, Japan 

1973 Tokyo Gallery, Tokyo, Japan 

1971 Gallery Krebs, Bern, Switzerland Gallery Birch, Copenhagen, Denmark 

1970 Galleria La Bertesca, Genova, Italy Genoa Gallery Modulo, Milan, Italy 

1969 Tokyo Gallery, Tokyo, Japan 

2014 Group “Genshoku” and Ishiko Junzo 1966-1971, Shizuoka PrefecturalMuseum of Art, Shizuoka, Japan 

Mono-ha, Tabloid Gallery, Tokyo, Japan
Mono-ha by Anzai: Photographs 1970-1976, Zeit-Foto Salon, Tokyo,Japan Other Primary Structures (Others 2: 1967 – 1970), Jewish Museum,
New York, NY
Mono-ha Artists, Museum of Contemporary Art, Karuizawa, Japan
The Hara Museum Collection at 35, Hara Museum of Contemporary Art, Tokyo, Japan 

2013 Prima Materia, Punta della Dogana, Venice, Italy
Tricks and Vision to Mono-ha, Tokyo Gallery + BTAP, Tokyo, Japan Parallel Views: Italian and Japanese Art from the 1950s, 60s, and 70s, The Warehouse, Dallas, TX 

2012 Ends of the Earth: Land Art to 1974, Museum of Contemporary Art, Los Angeles, CA; traveled to Haus der Kunst, Munich 

Tokyo 1955-1970, Museum of Modern Art, New York, NY 

Requiem for the Sun: The Art of Mono-ha, Blum & Poe, Los Angeles, California The ‘70s in Japan: 1968-1982, Museum of Modern Art, Saitama, Japan; traveled to Hiroshima City Museum of Contemporary Art, Hiroshima, Japan
The Artists of Mono-ha and Its Era, Rakusui-tei Museum of Art, Toyama,Japan 

2011 Gallery’s Collection Exhibition: Mono-ha, Tokyo Gallery + BTAP, Tokyo,Japan 

2010 Masan Munsin International Sculpture Symposium, Munsin Art Museum, Masan, Korea 

Tokyo Gallery + BTAP 60th Anniversary Exhibition, Tokyo Gallery + BTAP, Tokyo, Japan
Yanpyon Environment Festival, Korea
Printing Exhibition of Shanghai World Expo 2010, Shanghai, China 

Micro Salon 60, Tokyo Gallery + BTAP, Tokyo, Japan 

2009 Drawing Story I 1960–1990, Tokyo Gallery + BTAP, Tokyo, Japan 

2008 Tamagawa Art Line Project, Tokyo, Japan
Art Scene Revived, Tokyo Gallery + BTAP, Tokyo, Japan 

2007 What is Mono-ha?, Beijing Tokyo Art Project, Beijing,China
Nobuo Sekine & Mitsukuni Takimoto, Yokohama Portside Gallery, Yokohama, Japan 

2006 Public Art, Gallery NOVITA, Aomori, Japan
Memorial for Yoshiaki Tono, Gallery TOM, Tokyo, Japan 

Mono-ha: Lee Ufan, Kishio Suga, Nobuo Sekine – from the 1970’s, Soh Gallery, Tokyo, Japan 

2005 Reconsidering Mono-ha, National Museum of Art, Osaka,Japan 

2004 Kim Tschang-Yeul, Sekine Nobuo & Susumu Sakaguchi, Gallery Bijutsu Sekai, Tokyo, Japan 

The New Tokyo Gallery Exhibition, Tokyo Gallery + BTAP, Tokyo,Japan 

2003 The 20th Anniversary of Gallery Q, Gallery Q, Tokyo, Japan 

2002 Sculpture Project, Busan Biennale, Busan, Korea
Memorial for Yoshishige Saito, Kawamura Gakuen Art Hall, Tokyo, Japan 

2001 Century, Tate Modern Art Gallery, London, UK Mono-ha, Kamakura Gallery, Tokyo, Japan 

Mono-ha, Kettle’s Yard Art Gallery, Cambridge, UK
Retrospective Exhibition for Nagaoka Museum Prize 1964-68, The Niigata Prefectural Museum of Modern Art, Niigata, Japan 

2000 Gwangju Biennale, Gwangju, Korea
Modern Art of Japan: Monet de Paris, French National Mint Bureau, Paris, France 

1998 Lumieves – Light – Rediscovery of Stained Glass, TN Probe, Tokyo, Japan 1997 Modern Art from a Collector’s View Point: Yamamura Collection, Hyogo 

Prefectural Museum of Art, Kobe, Japan Street Museum, Kawagoe, Japan 

1996 Inside and the Outside of Art, Itabashi Art Museum, Tokyo, Japan 1970-Material and Perception – Mono-ha and Artists Who Ask Root, Saint Ratienu Museum, France 

1995 Archeology of Phase – Mother Earth, Otani Memorial Art Museum, Nishinomiya, Japan 

Japanese Culture: The Fifty Postwar Years, Meguro Museum of Art, Tokyo, Japan; traveled to Hiroshima City Museum of Contemporary Art, Hiroshima, Japan; Fukuoka Prefectural Museum of Art, Fukuoka, Japan; Hyogo Prefectural Museum of Art, Kobe, Japan 

46th Venice Biennale: ASIANA Contemporary Art from The Far East, Palazzo Vendramin Calergi, Venice, Italy
Matter and Perception 1970: Mono-ha and the Search for Fundamentals, Museum of Fine Arts Gifu, Gifu, Japan; traveled to Hiroshima City Museum of Contemporary Art, Hiroshima, Japan; Kitakyushu Municipal Museum of Art, Kitakyushu, Japan; Museum of Modern Art, Saitama, Japan; Museum of Modern Art Sain-Étienne, Saint-Étienne, France 

1994 Landscape of Stone, Dockyard Garden, The Landmark Tower Yokohama, Yokohama, Japan 

Mono-ha, Kamakura Gallery, Tokyo, Japan
Different Natures, La Virreina, Barcelona, Spain
Memorial for Yaeko Fujita: Artists and Sakura Gallery, Sakura Gallery, Nagoya, Japan
Japanese Art after 1945: Scream against the Sky, Yokohama Museum of Art, Yokohama; traveled to Guggenheim Museum Soho, New York, NY; San Francisco Museum of Modern Art, San Francisco, CA
ASIANA Contemporary Art from the Far East, Parazzo, Italy 

1993 Imura Art Gallery, Kyoto, Japan Konishi Gallery, Kyoto, Japan 

Oomitsu Collection, Niigata City Art Museum, Niigata, Japan
Differentes Natures, Visions de l’Art Contemporain, Galerie Art 4 et Galerie de l’Esplanade, Paris, France
Exposition Différentes Natures, Galerie Art La Defense, Paris, France 

1992 Avantguardie Giapponesi degli anni 70, Galleria Comunale d’Arte Moderna di Bologna; traveled to Setagaya Art Museum, Tokyo, Japan 

1991 Gallery Gen-Group Show, Tokyo, Japan
70’s-80’s Contemporary Art: Mono-ha, Kamakura Gallery, Tokyo, Japan 

1990 Yokohama Business Park, Yokohama, Japan 

1989 Japanese Open-Air Sculptures, Middelheim Museum, Antwerp, Belgium 

1988 Mono-ha: La Scuola delle cose, Museum Laboratorio di Arte Contemporanea, Rome Italy 

Seen by Hands, Seibu Department Store, Yurakucho, Tokyo,Japan 

1987 Art in Japan since 1969: Mono-ha and Post Mono-ha, Seibu Museum of Art, Tokyo, Japan 

Nobuo Sekine and Koji Enokura Recent Print Works, Naruse Murata Gallery, Tokyo, Japan
Tokyo Gallery Group Exhibition, Tokyo Gallery, Tokyo,Japan 

1986 Mono-ha, Kamakura Gallery, Tokyo, Japan
Lee Ufan, Nobuo Sekine, Kishio Suga: Methods of the 1970s, Soh Gallery, Tokyo, Japan
Le Japon des Avant-Gardes, Centre Georges Pompidou, Paris, France 

1984 Human Documents ’84/’85-3, Tokyo Gallery, Tokyo, Japan
Art of Present Time. Wood and Paper-Dialogue with Nature, Gifu Prefectural Museum, Gifu, Japan
Development of Contemporary Sculpture, Gallery Seiho, Tokyo,Japan Sculpture Japonaise Contemporaine, Galerie Jullien-Cornic, Paris, France 

1983 Figure of Wood and Esprit, Saitama Prefectural Museum, Tokyo,Japan 

1981 Turning Point of Contemporary Art of 1960’s, National Museum of Modern
Art, Tokyo, Japan; traveled to the National Museum of Modern Art, Kyoto, Japan Modern Japanese Sculpture, Kanagawa Prefectural Museum of Modern Art, Kanagawa, Japan 

Japanese Contemporary Art, The Korean Culture and Arts Foundation, Seoul, Korea
The 1960’s: A Decade of Change in Contemporary Japanese Art, National Museum of Modern Art, Tokyo, Japan 

1980 History of Contemporary Sculpture, Kanagawa Prefectural Hall Gallery, Kanagawa, Japan 

1977 Japan Art-Festival, Tokyo Central Museum, Tokyo, Japan Voices in the Modern Age 

Tokyo Gallery Exhibition, Tokyo Gallery, Tokyo, Japan 

1976 10th International Biennale Exhibition of Prints in Tokyo, The National Museumof Modern Art, Tokyo, Japan 

1975 Contemporary Art Exhibition from 1950 to 1975, Central Museum, Tokyo, Japan 

1974 Two-Man Show with Kuniichi Sima, Gallery Coco, Kyoto, Japan 11th Tokyo Biennale, Tokyo, Japan 

Contemporary Sculpture Exhibition of 20 Artists, Tokyo Central Museum, Tokyo, Japan
Japan Art Exhibition, Germany
Contemporary Sculpture Symposium, Tochigi Prefectural Museum of Fine Arts, Japan 

1973 8th Japan Art-Festival, Tokyo, Japan
11th Contemporary Art Exhibition of Japan, Tokyo Metropolitan Art Museum, Tokyo, Japan 

1971 10th Contemporary Art Exhibition of Japan, Tokyo Metropolitan ArtMuseum, Tokyo, Japan 

Tokyo Gallery 1971, Tokyo Gallery, Tokyo, Japan 

1970 Art Exhibition of World EXPO 1970, Suita, Osaka, Japan 35th Venice Biennale, Venice, Italy 

Human Documents ’70-3, Tokyo Gallery, Tokyo, Japan 

1969 6th Paris Biennale, Paris, France
9th Contemporary Art Exhibition of Japan, Tokyo Metropolitan Art Museum, Tokyo, Japan
1st International Contemporary Sculpture Exhibition, Hakone Open-Art Museum, Tokyo, Japan
9 Visual Points, Muramatsu Gallery, Tokyo, Japan
Tricks & Vision: Stolen Eyes, Tokyo Gallery, Tokyo, Japan
Trend of Japanese Contemporary Art, National Museum of Modern Art, Kyoto, Japan
Japanese Artist Drawing, Tokyo Gallery, Tokyo, Japan 

1968 OOXPLAN, Muramatsu Gallery, Tokyo, Japan
8th Contemporary Art Exhibition of Japan, Tokyo Metropolitan Art Museum, Tokyo, Japan
1st Contemporary Sculpture Exhibition, Suma Palace Park, Kobe, Japan 5th Exhibition, Museum of Contemporary Art, Nagoya, Japan 

1967 Two-Man Show, Tsubaki Kindai Gallery, Tokyo, Japan 11th Shell Art Exhibition, Tokyo, Japan 

OOOPLAN, Muramatsu Gallery, Tokyo, Japan Universiad, Tokyo, Japan 

Catalogues and Monographs 

2013 Atkins, Robert. Artspeak: A Guide to Contemporary Ideas, Movements, and Buzzwords, 1945 to the Present. New York: Abbeville Press, 2013. 

2012 Ends of the Earth: Land Art to 1974. Los Angeles: Museum of Contemporary Art, 2012. 

Mono-ha Artists and the Era. Toyama: Rakusui-tei Museum of Art, 2012. Yoshitake, Mika. Requiem for the Sun: The Art of Mono-ha. Los Angeles: Blum & Poe, 2012. 

2011 Monogatari: Nobuo Sekine Arts Exhibition 1970-2011. Shanghai:Shanghai People’s Fine Arts Publishing House, 2011. 

2008 Sekine Nobuo. China: Pyo Gallery, 2008.
2007 What is Mono-ha? Texts by Huang Du, Charles Merewether, Yusuke Nakahara, 

Yukihito Tabata, and Hozu Yamamoto. Tokyo: Tokyo Gallery + BTAP,2007. 2006 Sekine, Nobuo. Fukei no yubiwa. Tokyo: Tosho Shinbun,2006. 

2004 Beijing Tokyo Art Projects. Movement, Feeling, Environment: Nobuo Sekine, Environment Art Studio. Beijing: Beijing Tokyo Art Projects, 2004. 

2003 Sekine, Nobuo. Concerning with “Environment Art” Sekine. Kawagoe, Japan: Kawagoe Shiritsu Bijutsukan, 2003. 

2001 Mono-ha – School of Things. Texts by Tatehata Akira, Simon Groom, Lee Ufan, Cambridge: Kettle’s Yard, 2001. 

1996 Isō-Daichi no kōkogaku (Archaeology of Phase-Mother Earth). Nishinomiya: Ōtani Memorial Art Museum, 1996. 

Sekine, Nobuo, Masahiro Shino. “Iso, daichi” no kokogaku. Nishinomiya, Japan: Otani Memorial Museum of Art, 1996. 

1995 Kamakura Gallery. Mono-ha 1994. Tokyo: Kamakura Gallery, 1995.
1994 Munroe, Alexandra. Japanese Art After 1945: Scream Against the Sky. New 

York: Harry N. Abrams, 1994. 

1992 Sekine, Nobuo. Sekine: A Message from Environment Art Studio. Tokyo:Process Architecture, 1992. 

1989 Sekine, Nobuo, and Yoshifumi Hayashi. Phase Conception II.Tokyo: Environment Art Studio; Niigata, Japan: Loft Museum Ten,1989. 

1987 Sekine, Nobuo. Sculpture of Scenery: Works of Nobuo Sekine + Environment Art Studio. Tokyo: Process Architecture, 1987. 

1986 Mono-ha. Text by Toshiaki Minemura. Tokyo: Kamakura Gallery, 1986.
1985 Sekine, Nobuo. Half-Autobiography: Art and Urban and Pictoral Fiction.Tokyo: 

PARCO Shuppan, 1985. 

1983 Sekine, Nobuo, and Environment Art Studio. From Landscape to Open Space. Tokyo: Shotenkenchiku-Sha, 1983. 

1978 Nobuo Sekine: Skulptur 1975-1978. Exh. cat. Humlebaek, Denmark: Louisiana Museum, 1978. 

Sekine Nobuo 68-78. Cat. raisonné. Text by Sekine Nobuo. Tokyo:Yuria pemuperu kōbō, 1978.
Sekine Nobuo: 1968-78. Tokyo: Julia Pempel Atelier, 1978. 

1977 Sekine Nobuo. Tokyo: Tokyo Gallery and Kaneko Art Gallery; and Nagoya: Sakura Gallery, 1977. 

1969 Sekine Nobuo. Text by Nakahara Yūsuke. Tokyo: Tokyo Gallery, 1969. 

Articles and Reviews
Herriman, Kat. “The Simple Complex.”, January 16, 2014. 

2013 Barrilà, Silvia Anna. “Giapponesi graditi all’America.” Il Sole 24 Ore, no. 581 (October 2013): 20-21. 

Miyamura, Noriko, ed. Enjoy! Contemporary Art! Tokyo: Yosensha, 2013.
Ruiz, Cristina. “The Lost Decades: Why the Past Is Back to Stay.” ArtNewspaper (Art Basel ed.), June 14-16, 2013.
Cembalest, Robin. “New Perspectives on Art.” Vogue (Japan), no. 162 (February 2013): 280-81.
Russell, Heather. “Nobuo Sekine and the Japanese Mono-haMovement.”, March 13, 2013.
Morikawa, Manami. “Special Report: ‘Tokyo 1950-1975: A New Avant-Garde’ Exhibition.” Bijutsu Techō 65, no. 982 (April 2013): 98-112. 

2012 Akel, Joseph. “Requiem for the Sun: The Art of Mono-ha, GladstoneGallery.” Modern Painters 24, no. 8 (October 2012): 92. 

Balestin, Juliana. “Group Exhibitions ‘Requiem for the Sun: The Art ofMono-ha’ at Gladstone Gallery, New York.”, July 22, 2012.
Berardini, Andrew. “Mono-ha, the Japanese ‘School of Things’ at Blum & Poe.” LA Weekly, March 8, 2012. 

Bryan-Wilson, Julia. “Ends of the Earth: Land Art to 1974.” Artforum 51, no. 3 (November 2012): 269-70.
Cembalest, Robin. “New Perspectives on Art.” Vogue (Japan), no. 162 (February 2013): 280-81. 

Chang, Ian. “Requiem for the Sun.” Frieze, no. 148 (June-August 2012): 206. Chong, Doryun. Tokyo 1955-1970: A New Avant-Garde. New York: Museum of Modern Art, 2012.
Drohojowska-Philp, Hunter. “Mono-ha Revisited.”, February 23, 2012, 

Favell, Adrian. “Mono-ha in LA.” (blog), February 27, 2012,
Ferguson, Russell. “Best of 2012.” Artforum 51, no. 4 (December 2012): 218. From Postwar to Postmodern: Art in Japan 1945-1989 : Primary Documents. New York: Museum of Modern Art, 2012. 

Haber, John. “Zen and the Art of Minimalism.”, August 3, 2012,
Halperin, Julia. “Blum & Poe’s Survey Touches Off Mono-ha Mania – And It’s Coming to New York.”, April 23, 2012, ha-mania-%E2%80%94%C2%A0and-its-coming-to-new-york. 

Halperin, Julia. “One-Line Reviews: Our Staff’s Pithy Takes on the Mono-ha Retrospective, Summer’s First Group Shows, and More.”, June 29, 2012, takes-on-the-mono-ha-retrospective-summers-first-group-shows-and-more#one- line-reviews-our-staffs-pithy-takes-on-the-mono-ha-retrospective-summers-first- group-shows-and-more/?image=2&_suid=135542772166208163063190438622. Hiro, Rika. “Exhibition Report – Requiem for the Sun: The Art of Mono-ha inLA.” Bijutsu techō, no. 6 (June 2012): 212-19. 

Hiro, Rika. “‘Requiem for the Sun: The Art of Mono-ha’ in Los Angeles: Encounters with Objects, Mono-ha, and the World.” Bijutsu Techō (English Supplement), no. 2 (Spring 2012): 3-5.
Johnson, Caitlin. “Mono-ha at Blum & Poe.” Los Angeles I’m Yours, April 9, 2012, 

Kee, Joan. “Requiem for the Sun: The Art of Mono-ha.” Artforum 50, no. 9 (May 2012): 316. 

Knight, Christopher. “Worldly, Refined.” Los Angeles Times, March 21, 2012. Momen, Motin. “Requiem for the Sun: The Art of Mono-ha.” (blog), July 2012,
Myers, Holly. “Simple, Elegant Design.” Los Angeles Times, March 9, 2012. Raffel, Amy. “Gladstone Gallery, Requiem for the Sun: The Art of Mono-ha.” (blog), July 26, 2012, art-of-mono-ha-until-august-3/. 

Rawlings, Ashley. “Turning the World Inside Out: A Major Survey of Mono-ha in Los Angeles.” Art in Australia 49, no.4 (Winter 2012): 580-83.
Ritter, Gabriel. “Requiem for the Sun: The Art of Mono-ha.” ArtAsiaPacific, no.79 (July-August 2012): 120. 

Schad, Ed. “Requiem for the Sun.” ArtReview, no. 59 (May 2012): 122-23. Yau, John. “Nobuo Sekine and Charles Ray and Their Sculptures Filledwith Liquid.”, July 29, 2012. 

2011 Wallis, Stephen. “Mono-ha Moment.” Art in America 99, no. 11 (December2011): 65-66. 

2007 Minemura, Toshiaki. “Difference in the Development of ‘Mono’: On a Visit tothe What is Mono-ha? Exhibition in Beijing.” Mainichi Shimbun (evening edition),
June 21, 2007.
Rawlings, Ashley. “An Introduction to Mono-ha.”, September 8, 2007, mono-ha.html. 

2004 Nakano, Minoru. “Zen’ei geijutsu no jidai (4) monoha: sozai wo chokushi,
hihyōsei tsuyoku ‘bungē hyakuwa’” (Era of the Avant Garde (4) Monoha:Gazing at material, hard criticality ‘100 literary stories’). Nihon keizai shinbun, December 26, 2004.
Ōtagaki Minoru. “Art shin ko ima kyouto no jikū ni asobu 3 sekine nobuo ‘isō daichi’ to ginkakuji to kogetsudai, jyō” (Art new, old and now playing in Kyoto space-time: Sekine Nobuo and Ginkakuji, Kogetsudai, vol. 1). Kyoto shinbun,
July 3, 2004.
Ōtagaki, Minoru. “Art shin ko ima kyouto no jikū ni asobu 3 sekine nobuo ‘isō daichi’ to ginkakuji kogetsudai, jyō” (Art new old and now playing in Kyoto space- time: Sekine Nobuo and Ginkakuji, Kogetsudai, vol. 1). Kyoto shinbun, July 10, 2004.
Sugawara, Norio. “Kinyō koramu nankai? Na gendai bijutsu, mijika ni kanjiru kokoromi” (Friday column impenetrable? Contemporary art attempts at familiarity). Yomiuri shinbun (evening ed.), January 16, 2004.
Sumi, Akihiko. “Tokushū nihonn kingendai bijutsushi 1905-2005: Lee Ufanjidai
to kokkyō wo koeta ‘deai’ wo motomete” (Japanese modern art history 1905- 2005: Lee Ufan seeking encounters beyond history and borders). Bijutsu Techō, July, 22-31, 2004.
Sumi, Wakio. “’Isō Daichi’ sai-sēisaku 2003 shimatsuki” (Revisiting ‘Phase
Mother Earth’ document 2003). National Museum of Art, Osaka, no. 138 (March 2004): 3. 

2002 “Cover Hero: Environmental Artist 20 Sekine Nobuo.” Bien, no. 20 (2002):4-9. Mita, Haruo. “Bijutsu Sekine Nobuo ten toshi kūkan to kakawaruniwa” (In orderto engage with urban space). Mainichi Shinbun, April 21, 2002. 

Sasaki, Hiroko, Sekine Nobuo, Hamada Gōshi. “Talk Sairoku Sasaki HirokoX Sekine Nobuo uchinaru iro uchinaru katachi kaiga to chōkoku wo meguru orijinarityi no yukue” (Re-recording Talk Sasaki Hiroko X Sekine Nobuointernal color internal form the future of originality in painting and sculpture). Bijutsu Techō (December 2002): 151-153. 

Sawaragi, Noi. “Tokubetsu teisai sensō to banpaku kanketsuron zenpen mō hitotsu no sensō bijutsu sokoniwa itsumo ga atta” (Special article thewar and the world’s fair conclusion part one the other wartime art there were always ‘rocks’ there). Bijutsu Techō (August 2002): 147-159. 

Tsuchiya, Seiichi. “Dai 12 kai gēijutsu hyōron boshū nyūsensaku happyo 

nakushita monono arika wo megutte Saito Yoshishige, 1973, saisēsaku” (12th art criticism competition selection honorable mention on the whereabouts ofthings lost Saito Yoshishige reproduction). Bijutsu Techō (May 2002):152-159. 

2001 Cowan, Amber. “The Five Best Shows Nationwide: Mono-ha: School ofThings.” Times (London), February 6, 2001. 

Kumagaya, Isako. “Enokura Kōji ‘kabe’ sakuhin wo chūshin ni” (Centering around Enokura Koji’s ‘wall’ piece). Museum of Contemporary Art Tokyo Bulletin, no. 6 (2001): 23-28.
Reed, Robert. “How Mono-ha shocked the world.” Daily Yomiuri, April 19, 2001. Safe, Emma. “Mono-ha – School of Things.” Art Monthly, no 248 (July-August 2001): 34-35.
Sekine, Nobuo. “Saito Yoshishige wo otono nai hakushu de okutta” (Wegave Saito Yoshishige a silent round of applause.” Aida (October 2001): 6.
“Zenēi bijutsu no nihon Matsuri no zenya” (The avant garde’s Japan the evening before the festival). Bijutsu Techō (October 2001): 93. 

1999 Reed, Robert. “Terror in the Bronze.” Winds (January 1999):30-32. 

1997 Chiba, Shigeo. “Tsuitō Yoshida Katsuro mirukoto no hirogari” (Inmemoriam Yoshida Katsuro the expanse of looking). Hanga gējutsu, no. 106 (1997): 98-103. Sawaragi, Noi. “Rensai nihon gendai bijutsu dai 7kai ‘monoha’ towa nanika” (Series Japanese contemporary art part 7 what is ‘monoha’). Bijutsu Techō (January 1997): 163-183. 

Suzuki Kenshi. “Ki ga ringo kara ochiru kokuritsu kokusai bijutsukan ‘jūryoku sengo bijutsu no zahyōjin’ ten” (The tree falls from the apple: National Museum of Art, Osaka exhibition “Gravity coordinates of post-war art”). Bijutsu Techō (January 1997): 188-193.
Tani Arata, Mita Haruo, Sugawara Norio, and Takashima Naoyuki. “Nihon-teki hyōgen kūkan to insutarēshon” (Japanese spatial expression and installation). Bijutsu Techō (November 1997): 80-96. 

1996 Hyōgyoku, Masahiko. “Gendai bijutsushi no ‘jiken’ ou ‘bijutsu no kōkogaku’ten” (An “incident” in contemporary art). Nihon keizai shinbun, July 10, 1996.
Shiraki, Midori. “Tenhyō Bijutsu no kōkogaku—zenēi bijutsu no nijikensaikenshō” (The archeology of art—re-evaluating two incidents in the avant garde). Nihon Keizai Shinbun (Osaka ed.), July 5, 1996. 

Sugawara, Norio. “Torendo in bijutsu aitsugu ‘sengo’ kikaku kenshō womeguru taishō-teki shuhō” (Trends in art: a string of ‘post war’ shows contrast methodology in their examination). Yomiuri shinbun, July 10, 1996.
Tanaka, Sanzōu. “Mono no ninshiki saguru sugata ‘Enokura Koji isaku’ ten to ‘bijutsu no kōkogaku’ ten (bijutsu)” (The state of searching for theunderstanding 

of things exhibits ‘posthumous works by Enokura Koji’ and the ‘archeology of art’). Asahi Shinbun, June 27, 1996. 

1995 “Biji-shūi 1970nen Bushitsu to chikaku monoha to kongen wo tou sakka tachi” (Gleaning/re-examining good things 1970 Material and perception mono-ha, artists who interrogate origin). Bijutsu Techō (March 1995): 148.
Hyōgyoku Masahiko. “Bijutsu no ashimoto wo tou tamemi, ‘1970nen—bushitsu to chikaku’ ten” (Questioning the foundation of material, exhibition “1970—material and perception”). Nihon keizai shinbun, Novermber 9, 1995. 

Jacob, Mike. “The Hole and its Parts: Sculptor pursues ‘Special MentalState’” Daily Yomiuri, January 1995.
Koshimizu, Susumu. “Tokubetsu kiji shōgen monoha ga kataru monoha nokoto Yami no naka e kieteiku mae no yabu no naka e.” Bijutsu Techō (May1995). Lee, Ufan. “Tokubetsu kiji shōgen monoha ga kataru monoha kigen matawa monoha no koto” (Mono-ha talks mono-ha the origin, or about mono-ha). Bijutsu Techō (May 1995): 255-258. 

Ōi, Kenji. “Exhibition Review” Bijutsu Techō (August 1995): 173.
Sekine Nobuo. “Tokubetsu kiji shōgen monoha ga kataru monoha no koto seishun to dōgigo no monoha to genzai (ima)” (The youth and synonym of mono- ha and the present (now)) Bijutsu Techō (May 1995): 261-263.
Yoshida, Katsuro. “Tokubetsu kiji shōgen monoha ga kataru monoha no koto chottoshita chigai ga zōfuku sarete” (Mono-ha talks mono-ha: little differences that multiply). Bijutsu Techō (May 1995): 258-260. 

1993 Minemura, Toshiaki, and Sumi Akihiko. “Monoha no keisei wo meguttezenpen” (On the formation of mono-ha). Bijutsu Techō (July 1993): 182-205.
Minemura Toshiaki, and Sumi Akihiko. “Monoha no keisei wo meguttekōhen” (On the formation of mono-ha). Bijutsu Techō (August 1993): 170-181. 

1990 Sekine, Nobuo. “Rensai essei watashino katachi katachi narazaru katachi” (My form: Form that is not form). Hanga gēijutsu, no 69 (1990): 145. 

1989 Haruo, Sanada. “The Japanese Contemporary Exhibition in Belgium.” Mainichi Daily News, Aug 24, 1989. 

Yonekura Mamoru. “Suzuki Minoru chōkoku ten to sekine nobuo shinsakuten” (Sculptures by Sumi Akihiko and new works by Sekine Nobuo). Asahi Shinbun, June 9, 1989. 

1987 Akita, Yuri. “Exhibition Monoha to posuto monoha no tennkai ‘nihon bijutsu’wo meguru futatsu no ‘chikara’ 1969nen ikō no nihon no bijutsu” (Exhibition: The evolution of Monoha and post-Mono-ha, two forces in Japanese art: Japanese art after 1969). Bijutsu Techō (September 1987): 189. 

Fujita, Yaeko. “Kikikaki, garōjin, sakura no obachan (10).” Bijutsu Techō (January 1987): 98-99.
Inui, Yoshiaki, Sakai Tadayasu, Tōno Hōmei, and Yonekura Mamoru. “Zadankai bijutsu kihyō ’87aki “‘mono-ha to posuto mono-ha no tennkai’ ten hoka” (Round table talk, seasonal review, Fall ’87 “the evolution of Mono-ha and post-Mono-ha” et al.). Mizue (Fall 1987): 86-101. 

Lee, Ufan. “Tokubetsu kikō mono-ha ni tsuite.” (Special article onMonoha). Mizue (Fall 1987): 102-105.
Lee, Ufan, Takubo Kyōji, Okazaki Kanjirō, Minemura Toshiaki Kanjirō, Minemura Toshiaki, and Chiba Shigeo. “Sairoku shinpojiumu kimihananiwoshitekitaka gekironn 70~80nendai no genndai bijutsu” (Re-recording Symposium: whathave 

you been doing? Heated discussion on contemporary art from the 70s and 80s). no. 1, 2, 3, 4, Seibu geijutsukan geppō, myūjiamu repōto, vol. 8, 9, 10,11.
Millet, Catherine. “Tokushū Ponpidū no ‘zenēi geijutsu no nihon 1910-1970’ten, watashitachi no yumemita radikalizumu kikan fukanō na jiten to shite” (“Japon des avant-gardes, 1910-1970” at the Pompidou, the radicalism we dreamed of as the point of no return). Bijutsu Techō, (April 1987): 144-151. 

Minemura, Toshiaki. “Wadai Pari, ponpidū centā ‘zenēi geijutsu no nihon1910- 1970’ ten no shinsō geijutsu no kihon wo machigaetewa imasenka” (The truth behind “Japon des avant-gardes, 1910-1970” at the Pompidou Center, Paris. Could you be misunderstanding the basis of art?) Art, no. 119 (1987): 70-72. Shiraga, Kazuo and Chiba Shigeo. “Shiraga Kazuo ga kataru” (Shiraga Kazuo speaks). Geijutsu hyōron (August 1987): 5-20. 

1978 “Nobuo Sekine.” Louisiana Revy, 19, no. 1 (August 1978): 18-23.(translated sections of the Kunsthalle Dusseldorf catalog). 

1975 Yasui, Shūzō. “Sekine Nobuo shōron. Kono <isō> no shitsuyō natankyūsha” (Short essay on Sekine Nobuo. A tenacious investigator of this “phase”). Hanga geijutsu (Print arts), no. 11 (1975): 142-48. 

1973 Yasui, Shūzō. “Sekine Nobuo e no tegami” (A letter to Sekine Nobuo). Kindai kenchiku, June 1973. 

Minemura, Toshiaki. “Geijutsu jānaru: Sekine Nobuo koten” (Art journal:Sekine Nobuo solo exhibition). Obararyū sōka, June 1973. 

1972 Haryu, Ichiro. “Dialogue number 31: Sekine, Nobuo, Interviewer Haryu, Ichiro.” Mizue 9-10, no. 812 (1972): 84-101. 

1971 Ufan, Lee. “Chokusetsu genshō no chihei ni (Sekine Nobuo ron)” (From the horizon of a direct phenomenon [On Sekine Nobuo]). Pts. 1 and 2. SD, no. 74 (December 1970); no. 75 (January 1971). 

1970 Ōkubo, Takaki. “Sekine Nobuo no kūsō” (Sekine Nobuo’s phase ofnothingness). Kai, March 1970. 

1969 Ōkubo, Takaki. “Sonzai to mu o koete-Sekine Nobuo ron” (Beyond beingand nothingness – On Sekine Nobuo). Sansai, June 1969, 51-53. 

1968 Yūsuke, Nakahara. “ no episode” (The episode of the“dirt sculpture”). Geijutsu shinchō, December 1968, 43. 

Hakone Open-Air Museum, Hakone, Japan
Hara Museum, Tokyo, Japan
Hiroshima Contemporary Art Museum, Hiroshima, Japan
Kanai Museum, Hokkaido, Japan
Kawagoe City Art Museum, Saitama, Japan
Louisiana Museum, Denmark
Museum of Contemporary Art, Nagaoka, Japan
National Museum of Art, Osaka, Japan
National Museum of Modern and Contemporary Art, Gwacheon, Korea Peter Stuyvesant Foundation, Amsterdam, Holland 

Prefectural Museum, Gunma, Japan
Prefectural Museum, Omiya, Saitama, Japan Prefectural Museum, Tochigi, Japan
Riijksmuseum Kroller, Otterlo, Holland
Seibu Museum, Tokyo, Japan
Setagaya Art Museum, Tokyo, Japan
Sonji Henie-Nils Onstad Culture Center, Oslo, Norway Takamatsu Museum of Art, Kagawa, Japan
Toyota Municipal Museum of Art, Toyota, Japan Yokohama Business Park, Yokohama, Japan 

1969 Concour Prize, 1st International Contemporary Sculpture Exhibition,Hakone, Japan 

Prize Group Work, 6th Paris Biennale, Paris, France 

1968 Concour Prize, 8th Contemporary Art Exhibition of Japan, Tokyo, Japan
Asahi Newspaper Prize, Contemporary Sculpture Exhibition, Suma Palace Park, Kobe, Japan
First Prize, 5th Exhibition, Museum of Contemporary Art, Nagaoka, Japan 

1967 Commendatory Prize, 11th Shell Art Exhibition, Tokyo, Japan


Zhang Hongtu


Zhang Hongtu
March 25 - April 27, 2022
Zhang Hongtu

If Bison Can Dream by Zhang Hongtu

November 27, 2021 - January 22, 2022


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


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


September 27 - November 16, 2019
Zhang Hongtu at Art and China after 1989


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

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

September 22, 2018


Michael McClard, Candide

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.



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.



“. . .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

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


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


“. . .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


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

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


R.C. BAKER: Noise For Signal

Progressives everywhere were shattered: How was it possible that a demagogic, thin-skinned, petty — and c’mon, the man is a congenital liar! — how was it possible that this charlatan had been elected president of the United States of America?


Welcome to 1968. Richard M. Nixon won the White House by less than 1 percent of the popular vote. During a 1971 discussion with National Security Advisor Henry Kissinger, Nixon griped that the members of his cabinet, including a young Donald Rumsfeld, “don’t know what the hell they’re talking about!” This observation, along with other salty insights from Oval Office recordings of our most Shakespearean president, provides the dialogue for R.C. Baker’s 9-and-half minute animation, “President: ‘Why?’ ” 


The animation was created from approximately 3,600 “degeneration prints,” a selection of which will be on view in a mural-scale installation, along with posters and assemblages. The source materials for the degeneration prints are thumbnail reproductions of head-shop posters advertised in early-1970s comic books, distorted by cheap printing techniques. Baker’s process, which he terms “painting by other means,” pushes these flaws over the border between recognizable imagery and abstraction, revealing the towering ideals of the ’60s as battered and degraded, yet still beautiful.


R.C. Baker is an artist and writer who lives and works in New York City. He is a New York Foundation for the Arts Painting Fellow whose work has been exhibited at Baahng Gallery, Zone: Contemporary Art, the Drawing Center, White Columns, the Center for Book Arts, and other venues in New York City, as well as internationally. Baker is a senior editor at the Village Voice and a visiting artist at NYU Steinhardt School of Painting. In 2016 he was awarded a Creative Capital | Andy Warhol Foundation Arts Writers Grant for Short-Form Writing.

A solo exhibition by R.C. Baker

May 24 – June 30, 2018



Opening reception

6-8PM, Thursday, May 24, 2018



Artist’s Talk

6PM, June 16, 2018


Categories: exhibitions



Baahng Gallery is pleased to announce Performative, a group exhibition, featuring works by Brian Dailey, Miryana Todorova and Rae BK. Performative elements are essential to their works; this exhibition is a cross section of their oeuvre showcasing selected paintings, sculptures, and a media work.


Washington D.C. based artist Brian Dailey presents a single channel video, Jikai, shown on multiple synchronized monitors as a featured video in the Times Square Midnight Moment series, making an allusion to Shakespeare’s line in The Merchant of Venice. The moth in Jikai is a metaphor for political systems and its fluttering around a light bulb is a meditation on political disintegration.


Lives and works between Sofia and New York, Miryana Todorova questions politics of public space and how people occupy it. On view includes works from series of Foreign Body and Movables. Temporary structures in transit set up new ways of perception and geometry. With shifting grounds and no solidity, the work continuously involves every layer becomes a reaction to the transformation of a physical and spatial encounter: Negotiation becomes the infrastructure, no arrangement is accidental and no order is fixed, resulting a hybrid structure shaped by vulnerability. 


Brooklyn artist, painter and sculptor, RAE -BK, showcases an assemblage made up of smashed-up bits and found objects welded together as mangled sculpture. His works are feats of random engineering combining things like metal grates, goggles, and chipped-off box fan blades, seemingly emotive human figures. RAE as a street artist creates lively and chaotic frescoes that manage to blend into urban environment eventuating fantastical and anarchical installations.  


A group exhibition

July 17 – August 15, 2018



Artists in the exhibition

Brian Dailey

Miryana Todorova



BRIAN DAILEY: Polytropos


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


Brian Dailey, WORDS: A Global Conversation

BRIAN DAILEY: WORDS: A Global Conversation

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

BRIAN DAILEY: Polytropos

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

Brian Dailey at The Rachel M. Schlesinger Arts Center

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


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

Categories: exhibitions