BJÖRN MEYER-EBRECHT​

Bjorn Meyer-Ebrecht Untitled (Benches), 2020 Ink and tape on paper 81 x 94 1/2 in. (206 x 240 cm)

BJöRN MEYER-EBRECHT

Born in Hamburg, Germany

Lives and works in New York

EDUCATION

2000 – 2002

Hunter College, CUNY, New York, NY, Master of Fine Arts

1995 – 1999

Berlin University of the Arts, Berlin, Germany, Fine Arts Program

SELECTED SOLO EXHIBITIONS

2019

“Uprising,” Owen James Gallery, New York

2018

“RaumBildRaum,” Christopher Dahlhausen and Björn Meyer- Ebrecht, two-person show with Christopher Dahlhausen; Galerie Susanne Neuerburg, Hennef, Germany

2017

“Fragments Remnants Leftovers,” Matteawan Gallery, Beacon, NY

Structural Constellations,” solo show with works by Josef Albers, Owen James Gallery, Brooklyn, NY

“Again Interpretation,” two-person show with Jule Korneffel, Matjöe Raum für Kunst, BBK, Cologne, Germany

2016

“Places for People,” Studio 10, Brooklyn, NY

2014

“Osamu Kobayashi and Björn Meyer-Ebrecht,” two-person show, Storefront Ten Eyck, Brooklyn, NY

2013

“Constructions,” Mattewan Gallery, Beacon, NY

2009

“Elissa Levy and Björn Meyer-Ebrecht,” two-person show, Pocket Utopia, Brooklyn, NY

1999

“Verstecken (Hiding),“ Kunsthaus Tacheles, Berlin, Germany

SELECTED GROUP EXHIBITIONS

2023

“Pitches & Scripts’” Jennifer Baahng Gallery, NY

2015

“Video Archipelago,Transmitter, Brooklyn, NY

“Pretext,with Joe Amrhein, Alma-Isa Barrett, Audra Wolowiec, Studio 10, Brooklyn, NY

2014

Read the Recap, Skip the Show,curated by Tom Marquet, Guest spot, Baltimore, MD “Booksmart,with Theresa Gooby, Brece Honeycutt, and August Ventimiglia, Matteawan Gallery, Beacon, NY

“Out to See,curated by Sara Riesman, South Street Seaport, multiple locations, New York, NY

2013

“This, Then, That,curated by Amy Barkow and Danielle Webb, Fourth floor, Brooklyn, NY “Color Line,curated by Rico Gatson, Outpost, Ridgewood, NY

Rock Street,outdoor exhibition curated by Deborah Brown and Lesley Heller, Brooklyn, NY

“Thanks”, curated by Adam Parker Smith, Lu Magnus Galery, New York, NY

2012

“Grounded,group show curated by Rico Gatson, Airplane, Brooklyn, NY

“Linear Perspective,with Laura Watts and Ellie Murphy, Mount Airy Contemporary Artists Space, Philadelphia, PA

“Inside Out – Outside In,with Dawn Clements, Theresa Ganz, Fran Siegel; Lesley Heller Workspace, New York, NY

2011

“Bibliomania,curated by Mary Birmingham; New Jersey Arts Center, Summit, NJ “Insider Art,curated by Jess Frost, Maxwell Davidson Gallery, New York

“Dunkle Wolke [Dark Clout],curated by William Powhida, Storefront, Brooklyn, NY

2010

“Utopia/Dystopia,curated by Deborah Brown, Storefront, Brooklyn, NY

2009

“NEVERandagain,curated by Elissa Levy, International Studio and Curatorial Program, Brooklyn, NY

“Now You See It, Now You Don’t,curated by Bernard Yenelouis, Camera Club, New York “Mixing It Up: Recent Hunter MFAs Working in Combined Media,curated by Tracy Adler, Leubsdorf Gallery, Hunter College, NY

2007

“In Exchange,group show curated by Mauro Restiffe, Gallery Casa Triangulo, Sao Paulo, Brazil

“Wanderlust,group show curated by Judith Selkowitz, Gallery at 499 Park Avenue, New York, NY

2004

Group show curated by Bernard Yenelouis, photographs, School of the International Center of Photography, New York,

2002

MFA-Thesis Show, Hunter College, New York, NY

1999

Group show of the graduating students, University of the Arts, Berlin, Germany

1998

Grenzgänge (Border Crossings), group show, Gallery and Project Space Meinblau, Berlin, Germany

1996

Osmosis, group show, University of the Arts, Berlin, Germany

PRESS

2020

Björn Meyer-Ebrecht in Conversation with Zach Keeting and Christoper Joy, Gorky’s

Granddaughter, video, 42 minutes, February 2020,

2019

Julia Friedman: “An Artist Provides a Stage for Us to Make Political Decisions,” Hyperallergic, May 2019

Sharon Butler: “Björn Meyer-Ebrecht: Spontaneity Rising,Two Coats of Paint, May 2019

2017

Barbara Gallo Farrell: “Fragments Remnants Leftoverson view at Matteawan Gallery,Poughkeepsie Journal, November 2017

“Ideas and Influences: Björn Meyer-Ebrechtin Two Coats of Paint, November 2017

2014

Hrag Vartanian: “The Story of 13 Artists Who Sat Down at a Communal Table,”

May 30, 2014, review of Communal Table, an exhibition curated by Björn Meyer-Ebrecht.

2011

Emilly Nathan: “Dunkle Wolke at Storefrontreviewed in “Brooklyn, Local”, June 8, 2011, Artnet.com Magazine

Bob Bahr: “Björn Meyer-Ebrecht: Stitching Together the Past’s Hopeful Future,Drawing Magazine, Winter 2011

2009

David Everitt: “Elissa Levy, Björn Meyer-Ebrecht/Pocket Utopia,April 2009, Art Review, London, UK, p. 96

James Wagner: “Björn Meyer-Ebrecht at Pocket Utopia,” January 17, 2009, jameswagner.com

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Deborah Buck

Shijia Chen

Billy Copley

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Björn Meyer-Ebrecht

Jaye Moon

Pablo Picasso

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Janet Taylor Pickett

Zhang Hongtu

Every artist since the early 20th century has been influenced by Pablo Picasso.  The protean painter/ sculptor/ printmaker/ ceramicist helped define what “modern” art once was – and is still becoming.  In 1939, MoMA’s staff was gathering 300 works by the world’s “most famous living artist” (according to the museum’s press release) for Picasso: Forty Years of His Art.  A centerpiece of the exhibit was Guernica, his grisaille mural decrying the destruction of the small Basque town by Nazi bombers, in 1937.

Along with Michelangelo and Rembrandt, the name Picasso (1881-1973) has become a synonym – a cliché, even – for “artist.”  But none of the artists in Picasso, Welcome to America see the Spanish-born titan as an old hat.  Instead, these ten Americans find in the European trailblazer constant inspiration and ongoing challenge.  Zhang Hongtu imagines Chairman Mao exposed by glaring illumination similar to the all-seeing lantern in Guernica.  Jaye Moon also reimagines Picasso’s anti-war masterpiece, in When Bob Dylan Meets Picasso, Guernica – using Lego bricks in Braille rather than paint.

The bodies and masks in another Picasso touchstone, Les Demoiselles d’Avignon (1907), come under scrutiny from Eileen Foti and André Raffray through substitution and homage.  Billy Copley finds masks in unlikely surroundings, while Janet Taylor Pickett moves effigies aside to place her powerful female figure at center stage.  Deborah Buck turns Picasso’s infamously harsh male gaze around, painting surreal figures that might be asking, “Who’s crying now?”  In Weary of Treading the Earth, from 1945, Romare Bearden, working in watercolor and ink rather than his later signature collage, energizes cubist space with a circus-like palette.  R.C. Baker riffs beyond Picasso’s Blue and Rose periods through primary-colored aluminum printing plates.  Björn Meyer-Ebrecht’s dynamic wood and enamel sculpture strips the figure to cubist angles and voids, while Brandon Ballengée searches for animals that, like Picasso’s minotaurs, are no longer with us. Original works by Pablo Picasso will also be on view, commemorating the 50th anniversary of his death.

All of the artists in this exhibition have been influenced by Picasso’s experiments with form and perspective – his breaking of traditional and academic rules.  Some of the work here also comments on his darker side, while other pieces engage with the social and political aspects of Picasso’s art.  Ultimately, these ten contemporary artists in Picasso, Welcome to America appreciate the formal and aesthetic complexity of a constant innovator.  This great artist was effectively barred from ever visiting the United States because he was a member of the French Communist Party.  But the joke was on the Feds – Picasso has been in America all along.

VIDEOS

Play Video about Brandon Ballengée, R.C. Baker
Play Video about Romare Beardon, Björn Meyer-Ebrecht, André Raffray
Play Video about Zhang Hongtu

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January 20 – March 11, 2023

Jennifer Baahng Gallery is pleased to present PITCHES & SCRIPTS, a group exhibition of works on paper. On view are ink and graphite drawings, collages, inkjet prints and sewed surfaces produced from the 1980’s through 2020. In pooling together six artists, the exhibition pitches a fermentation of ideas, technologies, and political stances that connote rupture and disintegration, while scripting growth, movement and new life. PITCHES & SCRIPTS runs from January 20 through March 11, 2023, with its opening reception on Friday, January 20, 6 – 8 PM.

The spectral presence of history suffuses the work of Janet Taylor Pickett and Zhang Hongtu. Blackness is a “declarative statement” for Janet Taylor Pickett (b. 1948), whose works, as ongoing visual poems,  probe personal and collective memory. Dresses Akimbo, on view, elaborates upon the symbolism of that gesture: a stance of power, bewilderment, and love. A forerunner of Chinese Political Pop Art whose work engages a multilayered discourse,  Zhang Hongtu (b. 1943) asserts themes of dislocation, national identity, propaganda, and politics in the Long Live Mao series, which is equal parts whimsical and profound.

Idiomerica by Sharon Butler (b. 1959) was catalyzed by the artist’s move from New York City to the suburbs. The works investigate the visual grammar of capitalist suburban Americana through video animations, text projects, digital drawings, and the resulting tendencies of reductive art. Conversely, moving from the Midwest to New York City, Jeff Gabel (b. 1968) developed Short Fiction Sketches in scribbly and smudge tone drawings. The works externalize the imagination  of a solitary artist inducted into a sea of uncanny urban experiences.

The Terminal Century by R.C. Baker (b. 1960) seethes with existential angst, as painted and collaged elements tremor with disruption and discordance, while also pointing to the beauty nestled in such moments of ostensive entropy. Similarly responding to a post-War world order, Bjorn Meyer-Ebrecht (b. 1972), makes ink drawings at a monumental scale, creating a pictorial architecture in ink that displays luminous materiality. In their rich, textured surfaces, the works included push the pictorial plane from drawing into painting. 

PITCHES & SCRIPTS assembles the memories of the artists at a formative historical moment, and inquires how art shapes history by responding to cultural shifts or by instigating them itself. As we are flung—‘pitched’—into the future, the exhibition looks to this collection of work for a loose, dynamic script for how to narrativize ourselves in the present.  PITCHES & SCRIPTS renders a ‘soft landing’ for our launch into the new year.

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