Zhang Hongtu at The Mariana Kistler Beach Museum of Art

   

Zhang Hongtu’s works were shown at his solo exhibition, Culture Mixmaster Zhang Hongtu, at The Marianna Kistler Beach Museum of Art, Kansas State University: September 25 –  December 22, 2018.

 

Press Release at the Beach Museum of Art.

 

Internationally acclaimed artist Zhang Hongtu has called many different places home and experienced life as an outsider at different times. Hegrew up in China as a member of the Muslim minority and because of his religious and political backgrounds, suffered persecution during the regime of Chinese Communist Party founder Mao Zedong. In 1982, he moved to New York City to study art and start a new life. This large exhibition, the first solo show of the artist in the Midwest, brings together early and up-to-the-minute recent works highlighting the artist’s endeavors in expressing his hybrid cultural roots.

 

Zhang’s travels around China as a young artist, most especially his study trip to Dunhuang in the western province of Gansu, proved seminal to his development. Dunhuang was an important stop along the network of trade routes known as the Silk Road, which connected Europe and Africa to the Middle East and Asia. Through the Silk Road, Buddhism traveled from India to China, resulting in the establishment of Buddhist cave temples around Dunhuang between the fourth and fourteenth centuries. The cave temples featured painting styles different from what Zhang had learned in art school and showed signs of the mural artists’ awareness of European painting.Works on display at “Culture Mixmaster” demonstrate Zhang’s lifelong interest in the cycle of travel, immigration, transmission of ideas, and cultural cross-pollination. Included are an oil painting applying the signature style of Vincent van Gogh to a landscape scene from a famous Chinese ink painting, and a ping-pong table that requires players to avoid letting the ball fall through cut-outs in the shape of the head of Chairman Mao.

 

Major support for this exhibition is provided by a grant from the Greater Manhattan Community Foundation’s Lincoln & Dorothy I. Deihl Community Grant Program, with additional sponsorship by Anderson Bed & Breakfast and Terry and Tara Cupps.

 

Source: https://beach.k-state.edu/explore/exhibitions/culture-mixmaster.html

Culture Mixmaster Zhang Hongtu

The Mariana Kistler Beach Museum of Art

Kansas State University

September 25 – December 22, 2018

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JANET TAYLOR PICKETT, ZHANG HONGTU, PINK and THE CORPSES


JANET TAYLOR PICKETT, ZHANG HONGTU, PINK and THE CORPSES


Madison Avenue  New York
Janet Taylor Pickett, Zhang Hongtu, PINK and THE CORPSES
October 5 – October 31, 2023

R.C. Baker
Eric Brown
Deborah Buck
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Zhang Hongtu

We are pleased to announce the group exhibition Janet Taylor Pickett, Zhang Hongtu, PINK and THE CORPSES, which runs from October 5 through October 31, 2023.  The exhibition marks the New York premiere of Janet Taylor Pickett’s works, previously only shown at the Oceanside Museum of Art in California, that probe a personal and collective past to posit a distinctly Black mythology of Self.  

This is also the debut of Zhang Hongtu’s never-before-seen Shan Shui Paintings from his personal collection.  Zhang’s Shan Shui series spans several years and explores the categories of “East” and “West” in a distinctive manner, reflecting his life in two cultures. He reimagines the work of seventeenth-century Chinese artists in the vibrant colors and brushwork of Monet and Vincent van Gogh.

On view includes works by R.C. Baker, Eric Brown, Deborah Buck, Bell and Ganassi, Jaye Moon, and Mr. selected from the online exhibition PINK and THE CORPSES.

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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.

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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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Van Gogh/Bodhidharma
March 25 – April 27, 2022

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

Related:

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
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
LOVE DIFFERENCE

LOVE DIFFERENCE

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

Categories: exhibitions

Tags:

LOVE DIFFERENCE

 

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

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Eric Brown

ALREADY AND NOT YET

Eric Brown
May 5 - June 25, 2022
LOVE DIFFERENCE

LOVE DIFFERENCE

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

PARADE

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

JANET TAYLOR PICKETT

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

JANET TAYLOR PICKETT

April – May, 2025
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
The Muse, 2023 Acrylic on canvas 48x48 in.

PRIDE AND INSOUCIANCE

February - April 2024
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
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
LOVE DIFFERENCE

LOVE DIFFERENCE

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

MORE THAN ONE WAY HOME

SOPHIE MATISSE
MORE THAN ONE WAY HOME

October 10 - November 24, 2020​

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



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


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


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

Related:

SECRET GARDEN

SECRET GARDEN

Sophie Matisse
May 15 - June 30, 2021
SOPHIE MATISSE

MORE THAN ONE WAY HOME

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

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

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

SOPHIE MATISSE

Be Back in 5
April - June, 2020
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
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
The Muse, 2023 Acrylic on canvas 48x48 in.

PRIDE AND INSOUCIANCE

February - April 2024
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
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
LOVE DIFFERENCE

LOVE DIFFERENCE

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

NOBUO SEKINE AND ZHANG HONGTU: TWO ROCKS

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

6-8pm

 

Artists in the exhibition

Nobuo Sekine

Zhang Hongtu

Biography

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
2014
Herriman, Kat. “The Simple Complex.” Wmagazine.com, 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.” Artnet.com, 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.” Purple.fr, 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.” KCRW.com, February 23, 2012, http://www.kcrw.com/etc/programs/at/at120223mono-ha_revisited. 

Favell, Adrian. “Mono-ha in LA.” ARTiT.com (blog), February 27, 2012, http://www.art-it.asia/u/rhqiun/zMnqaA0XIdfS8NHW5v2x/.
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.” Haberarts.com, August 3, 2012, http://www.haberarts.com/monoha.htm.
Halperin, Julia. “Blum & Poe’s Survey Touches Off Mono-ha Mania – And It’s Coming to New York.” Artinfo.com, April 23, 2012, http://www.artinfo.com/news/story/800839/blum-poes-survey-touches-off-mono- 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.” Artinfo.com, June 29, 2012, http://www.artinfo.com/photo-galleries/one-line-reviews-our-staffs-pithy- 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, http://www.laimyours.com/13859/mono-ha-at-blum-poe/. 

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.”StyleZeitgeist.com (blog), July 2012, http://www.sz-mag.com/news/2012/07/mono-ha/.
Myers, Holly. “Simple, Elegant Design.” Los Angeles Times, March 9, 2012. Raffel, Amy. “Gladstone Gallery, Requiem for the Sun: The Art of Mono-ha.” Workspacesllc.com (blog), July 26, 2012, http://www.workspacesllc.com/blog/gladstone-gallery-requiem-for-the-sun-the- 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.” Hyperallergic.com, 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.” TokyoArtBeat.com, September 8, 2007, http://www.tokyoartbeat.com/tablog/entries.en/2007/09/an-introduction-to- 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

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Baahng Gallery is pleased to present I DARE TO MATE A HORSE WITH AN OX, the gallery’s inaugural solo exhibition of the highly celebrated works of Zhang Hongtu, a Chinese-born, New York-based artist and forerunner of the Chinese “Political Pop” art movement.  The exhibition will be on view at the gallery from September 27 through November 8, with an opening reception with the artist to be held on Friday, September 27, from 6 to 8 pm.  

 

To dare to mate a horse with an ox is to dare to break down the zygotic barriers that maintain the separation of species.  This notion of doing the impossible and breaking down barriers has been the lodestar of Zhang Hongtu’s life and five decade-long career.  As a Muslim outsider in China, then as a Chinese exile in America, through his works, he has continually sought to disintegrate dividing walls in culture, politics, and time.  His works involve thoughtful juxtapositions of critique with humor, and the appropriation of images of authority figures and cultural icons, for the purpose of deflating the power of such formidably divisive influences.  While each work captures and contemplates a multi-layered discourse on competing ideas, the exhibition as a whole unexpectedly proposes universality and relevancy.   

 

I DARE TO MATE A HORSE WITH AN OX highlights selected works from Zhang’s series Shansui, Political Pop, and Van Gogh/Bodhidharma.  Van Gogh/Bodhidharma consists of 39 ink paintings created over the course of seven years, 2007-2014.  They are the Van Gogh “self-portraits” merged into the style of the classical Zen portraits of Buddhist monk Bodhidharma.  His morphing of Van Gogh and Bodhidharma into one is a remarkable display of the artist’s masterful ability to dissolve distinctions between two icons.  Also on view are:  Bada! Bada!!-11, #2, 2011, a lopsided map of China facing a mob of angry fish; Walking Monkey, 2016, a warning on a disrupted ecosystem; Landscape, Out of the Focus, 2011, a questioning of the assumption of near-sightedness; Long Live Chairman Mao Series, 1987-1995; Zodiac Figures, 2002; Mai Dang Lao, 2002; and Six-Pack of Kekou-Kele, 2002.

 

Zhang Hongtu was born in Gansu, China, in 1943. He attended the Central Academy of Arts and Crafts in Beijing 1964-1969, moved to New York in 1982, and attended Art Students League 1982-1986.  Selected solo exhibitions include at Queens Museum, Marianna Kistler Beach Museum of Art, Kansas, the Connecticut College Charles E. Shain Library, The Bronx Museum of Fine Arts, Kaohsiung Museum of Fine Arts, Taiwan.  Selected group exhibitions at Solomon R. Guggenheim Museum, Metropolitan Museum of Art, Museu Picasso, Spain, Brooklyn Museum, Wexner Center for the Arts, Ohio, Princeton University Art Museum, Israel Museum, Louisiana Museum of Modern Art, Denmark, El Museo Nacional de Bellas Artes, Cuba, The Hall for Contemporary Art, Hamburg, Germany, Kunst und Ausstellungshalle der Bundesrepublik Deutschland, Bonn, Germany, and Taipei Fine Arts Museum, Taiwan.

ZHANG HONGTU

I DARE TO MATE A HORSE WITH AN OX

 

September 27 – November 16, 2019

 

Opening reception with the artist

6-8pm, Friday September 27

 
Artist Talk on Van Gogh/Bodhidharma: 1-3pm, Saturday November 16
Related:
Zhang Hongtu 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
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
LOVE DIFFERENCE

LOVE DIFFERENCE

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

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