Monthly Archives: March 2016

Hyong Nam Ahn: The Secret of Peace at Art Mora Gallery, NYC

Hyong Nam Ahn: The Secret of Peace

March 10-23, 2016 

Opening Reception: Thursday, March 10, 6-8pm

Art Mora Gallery

547 W. 27th St. #307, New York, NY 10001
212-564-4079

Hyong Nam Ahn

The AHL (Art, Humanity, Love) Foundation is delighted to present The Secret of Peace, Hyong Nam Ahn’s solo exhibition curated by Eun Young Choi. The exhibition will showcase Ahn’s most recent sculptures and wall pieces along with his delicate lyrical drawings.

Ahn uses a variety of materials such as cut out aluminum forms, stainless steel rods, wood, stone, and oil paint as well as environmental factors such as wind as metaphors that allude to the natural environment. Ahn’s sensitivity to equilibrium, light and movement is accentuated by his use of these disparate materials in a fluid dialogue with each other.

In fact, the use of technology and industrial materials such as neon lights in combination with natural materials and motifs are more of a reference to the dichotomy of our environment that encompasses both the manmade and the natural rather than a critique on industrialization or consumerism. The various elements seem fractured yet balanced, engaging the viewer into a sophisticated dialogue about philosophy, nature, progress, technology, and spirituality.

Ahn’s poetic and lyrical sculptures and drawings embody both the artist’s spontaneous gestures as well as the refined technical sophistication of his craftsmanship to capture the vitality of both the physical and the spiritual world. While Ahn’s geometric shapes allude to natural motifs, his expressive linear elements and use of neon lights can be linked to the long history of Asian meditative calligraphic brush strokes. Ahn’s elegantly choreographed lyricism and the raw power of the medium embody the complex balance of nature, harmony and peace.

Hyong Nam Ahn (b 1955, Korea) earned his BFA and MFA from the School of the Art Institute of Chicago. Inspired by Kinetic Art of the 1960s, his sculptures integrate lights, sounds, and movements. Ahn has exhibited extensively including solo and group exhibitions at the Museum of Contemporary Art, Chicago; Tweed Museum, University of Minnesota; Ohio University Art Museum; Arlington Cultural Art Museum, Columbus, OH; Lake View Museum of Art & Science, Peoria, IL; SoMa Museum of Art, Seoul, Korea; and Laciudad Museum, Madrid, Spain among many others. Ahn has received numerous commissions for public sculptures from notable institutions and corporations such as McDonald Corporation in Kirkland, WA; The Mayor’s Advisory Committee on Art & Culture, Baltimore, MD; and McCormick Place Donnelly Hall World Convention Center, Chicago, IL.

Eun Young Choi, Director of Programs at AHL Foundation, is a New York-based curator, artist, museum educator and arts administrator originally from Seoul, Korea. She holds a MFA from the School of Visual Arts and a BFA from the School of the Art Institute of Chicago. Choi has organized exhibitions and cultural events in collaboration with various organizations including the New Museum’s IDEAS CITY Festival, National Academy Museum, United Nations Headquarters, and Asian American Art Centre. Her exhibitions and programming have been featured in the New York Times, New York magazine, VOGUE magazine, The Brooklyn Rail, Artcritical and numerous other media outlets.

 

About the AHL Foundation

AHL (Art, Humanity, Love) Foundation is a 501(c)3 visual arts organization with a mission to support Korean artists living in the United States and is committed to promoting and providing greater exposure of their work. Founded by Sook Nyu Lee Kim in 2003, the AHL Foundation has been committed to seeking and promoting talented Korean and Korean-American artists while building a wider public awareness of the important cultural contributions made by these artists. Other AHL programs include commissions, exhibitions, art history classes, public lectures, museum and gallery tours along with professional development opportunities for artists through studio visits, the AHL Forum, Visual Art Awards and Project Grants.

This exhibition is organized by the AHL Foundation with the generous support from the New York State Council on the Arts, New York City Department of Cultural Affairs, Jason J. Kim Oral Design, KISS Products and numerous other donors.

For additional information about our programs please visit www.ahlfoundation.org. For inquiries about the exhibitions, please contact us at info@ahlfoundation.org or 516-983-3935.

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INVASION OF THE PODS JAMES WONG curated by MARY TING at Chinese American Arts Council, NYC

CAAC
INVASION OF THE PODS
JAMES WONG
Curated by MARY TING

PODS侵略
黄仕荣
丁維瑾策展

Chinese American Arts Council
456 Broadway, 3rd Floor
New York, NY 10013

Exhibition/展期: 3.10 – 4.15.2016
Reception/茶會: 3.10.2016, 6-8pm

Exhibition Statement
James Wong, a Chinese American self taught artist has been working non-stop for the past thirty years on his Future War marker drawings. This exhibition, James Wong: Invasion of the Pods features his recent large multi panel works and the proliferation of pods– small flying ships, some that are robots, others with pilots. These works range from two feet to eight feet long in a narrative comic strip format.

With an oeuvre of some six thousand five hundred drawings to date, James Wong is immersed in his invented worlds at war. Each military force is complete with its own logo, transportation fleet, war machines, arsenal, and personnel. Intense color, bold design and minute linear details are the calling card of James’ work. Drawings are created first with a black! marker outline and templates, then followed by intense colori! ng into the wee hours. In the artwork of James Wong, the iconography of model airplanes, comic books, and architectural blue print drawings merges with game design, avatars and war technology.

Born in Hong Kong in 1972, James grew up in New York City Chinatown and went to New York’s Art and Design High School. His work has been exhibited at Cooper Union, Margaret Bodell Gallery, Henry Street Settlement, Cuchifritos and American Primitive Gallery, all in New York City.

For more information visit http://www.caacarts.org/dp/?q=/node/15&id=248

展覽論述
黄仕荣是位自学成材的美籍华裔艺术家,过去三十年一直创作一系列「未来大战」麦克笔画作。是次展览「黄仕荣:机械人侵略」展出他近期的大型多画板作品,而Pods 的增值。黄仕荣创造的Pods 是一种小飞物, 有的是机器人,有的 有飞行�‘! �。是次展览的作品长两至八呎,形式为叙述性连漫画格式。

直至现在,黄仕荣已创作了超过六千五百幅画作,沉浸于他创作的战争世界:每个军事力量都有自己的标志、车队、武器、军器厂和军人。他的画作以强烈色彩、大胆设计和细致线条见称。这些作品先以黑色麦克笔起草,再以强烈颜色上色至夜深。在黄仕荣的画作中,模型飞机、漫画和建筑蓝图的意象与游戏设计、人物造型和战争技术融合。

黄仕荣1972年生于香港,在纽约市唐人街长大,就读纽约的艺术及设计高中(Art and Design High School)。其画作曾于纽约市的库珀联盟(Cooper Union)、玛格丽特波代尔画廊(Margaret Bodell Gallery)、亨利街社福艺术中心(Henry Street Settlement),Cuchifritos画廊(Cuchifritos)和美国原始画廊(American Primitive Gallery)展出。

點選更多�³! �訊 http://www.caacarts.org/dp/?q=zh-hant%2Fnode%2F15&id=248

Chinese American Arts Council and Gallery 456 are supported, in part, by public funds from the National Endowment for the Arts; the New York State Council on the Arts with the support of Governor Andrew Cuomo & the NYS Legislature; The City of New York Department of Cultural Affairs in partnership with the City Council; and many other friends.

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Curators in Conversation: Eugenie Tsai at the Museum of Chinese in America, NY

http://www.mocanyc.org/visit/events/curators_conv_eugenie_tsai

Curators in Conversation: Eugenie Tsai

Wed, Mar 9, 2016 @ 6:30pm – 8:30pm

Tickets: $12/adult; $8/senior (65+) and students (with valid ID); FREE for MOCA members

Click here to purchase tickets

Location: Museum of Chinese in America

215 Centre Street, New York, NY

MOCA presents a dynamic new program series that engages Chinese American curators, artists and cultural producers across generations and geographies in critical conversations to deeply investigate the aesthetic concerns, subject matter, and experiences within the Chinese and Asian American cultural community.

 

The series is moderated by Herb Tam, Curator and Director of Exhibitions at MOCA.

Curator Bio:

 

Eugenie Tsai joined the Brooklyn Museum in the fall of 2007 as the John and Barbara Vogelstein Curator of Contemporary Art. With Patrick Amsellem, she organized 21: Selections of Contemporary Art from the Brooklyn Museum, a long-term installation that opened on September 19, 2008. Previously she was Director of Curatorial Affairs at P.S. 1 Contemporary Art Center in Queens, New York. Prior to Joining P. S. 1 in 2005, she was an independent curator with projects for the Museum of Contemporary Art, Los Angeles; the Berkeley Museum; and the Princeton University Art Museum. She held several positions at the Whitney Museum of American Art prior to becoming Associate Director for Curatorial Affairs. Among the exhibitions and installations she has organized are the mid-career survey Threshold: Byron Kim, 1990-2004; Robert Smithson, which received the International Association of Art Critics’ first place award for the best monographic exhibition of 2005; and for Princeton University, Shuffling the Deck: The Collection Reconsidered. Dr. Tsai received a B.A. from Carleton College in Northfield, Minnesota and a Ph.D. from Columbia University.

 

Upcoming Curators in Conversation:

 

Curators in Conversation: Christopher Y. Lew

Friday, May 20, 2016 | 6:30pm

 

Curators in Conversation: Xin Wang

Tuesday, October 25, 2016 | 6:30pm

 

Curators in Conversation: Paul Chan

Thursday, November 3, 2016 | 6:30pm

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Country of Dreams: Art Festival as Social Change at Japan Society

Wednesday, April 27, 6:30 PM

Location

Japan Society
333 East 47th Street
New York, NY 10017

Abandoned buildings repurposed as surreal dream houses, a million tulip petals falling from the sky: every three years the remote snow country of Echigo-Tsumari is transformed into a spellbinding art festival. Conceived as a way of revitalizing a depopulated region, the Echigo-Tsumari Art Triennale is not only one of the world’s largest art festivals, it is a powerful force for social change. In collaboration with the local community, the bucolic landscape is turned into a multi-media exhibit space, drawing in artists and admirers from around the world. Come hear from participating artists Marina Abramović, Cai Guo-Qiang, and Ilya & Emilia Kabakov, as well as creator and General Director Fram Kitagawa. Co-organized by Midori Yamamura.

Tickets: $13/$10 Japan Society members, seniors & students

Buy tickets here

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EXECUTIVE DIRECTOR POSITION AVAILABLE AT THE KOREAN AMERICAN NATIONAL MUSEUM – IMMEDIATE OPENING

EXECUTIVE DIRECTOR POSITION AVAILABLE AT THE KOREAN AMERICAN NATIONAL MUSEUM – IMMEDIATE OPENING

The Korean American National Museum’s mission is to preserve and interpret the history, experiences, culture and achievements of Americans of Korean ancestry. In accomplishing its mission, the Museum works to become a center for cultural exchange, arts, and education, a catalyst for sharing ideas and resources, and a center for promoting and celebrating the diversity of culture in this country. It is important to the Museum’s mission to help make the Korean American experience vivid and intelligible to other communities and to encourage these groups to find out more about Korean Americans in Los Angeles and elsewhere.

One of the Museum’s primary objectives is to introduce audiences to the sources of Korean culture, enabling younger members of the Korean American community and its neighbors from other ethnic communities to gain a greater understanding of this rich and complex civilization, a civilization that in Los Angeles, which has the country’s largest Korean American population, has not had a consistent venue for its contemporary and traditional works of art and for a creative recounting of its history. The Korean American Museum provides an appropriate setting in Los Angeles to exhibit and focus the public’s attention on this often overlooked culture, history, and art.

 

JOB DESCRIPTION

The Executive Director is responsible for the successful leadership and management of the organization according to the strategic direction set by the Board of Directors.

 

QUALIFICATIONS

The Korean American National Museum seeks a candidate with leadership and/or management experience in a professional environment. This candidate should also be able work independently on multiple projects at the same time, and be able to meet deadlines promptly. Experience in a non-profit organization is preferred.

– BA/BS in Museum Studies, Art, or Business Management (or related field/experience) required, MA/MS preferred.

– Knowledge of government funding and experience in grant writing

– Experience in fundraising

– Knowledge of financial management

– Knowledge of human resources management

– Knowledge of project management

– Excellent communication skills (written and spoken).

– Interest in Korean American culture is a must!

– Interest in Arts and Public Education.

– Interest in meeting people to seek and follow leads for the organization.

– Bilingual English/Korean preferred.

– Proficient in Microsoft Office, especially Word and Excel.

– Experience using Adobe Photoshop/Illustrator a plus, but not required.

If interested in applying to this position, please email your resume and cover letter no later than February 17, 2016 to: irene.kanmuseum@gmail.com Salary DOE.

The Korean American National Museum is a non-profit organization.

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Media as Singularities — Symposium and video feedback performance by Masayuki Kawai at NYU

“Media as Singularities”
Symposium and video feedback performance by Masayuki Kawai 
at NYU Einstein Auditorium, 34 Stuyvesant St, New York, NY 10003
Sun, March 6 at 4pm6pm.
map https://goo.gl/maps/Qmc8sz5kgZr

 
We begin with Masayuki Kawai and Daisuke Harashima (University of Tokyo) discussing Media as Singularities then a feedback performance by Kawai. Then, Zhen Zhang of NYU Tisch Cinema Studies and Tom Looser from East Asian Studies at NYU will join to talk about Kawai’s work.
It is open to public and free of charge.
Symposium/lecture:
USA: Tom Looser (NYU)

Zhen Zhang (NYU)
Japan: Daisuke Harashima (University of Tokyo)

Masayuki Kawai (video artist)
Inline image 1
Video Feedback Live Performance by Masayuki Kawai:
Masayuki Kawai builds a video feedback system composed of dozens of analog audio-visual devices. He shows the machine on site as an installation and operates it as live performance as well. Kawai’s “Video Feedback” works are made with an analog video feedback from a closed circuit system with free-flowing electronic data. No outer video/sound source is used; the video machines and circuits contain subtle noises that are amplified in the loop to generate infinite data flows. When these are put into the video input, they display various figure and colour mutations. When these are channeled into the audio input, they make sounds that are synchronized with the image. It is impossible to make these images and sounds by computer programing-simulation because the digital process eliminates the noise and gives privilege to the signals. Thus, through these works, we directly experience an organic creation of singularity with analog electronic video.

About Media as Singularities

Flush with emergencies, probabilities and preemptions, is the situation under control or out of control? Shock, noise, accident, event, etc., any such exceptional anomaly now seems to be captured by the networks to improve their flexible, robust and sustainable creativities of the self-controlling collective security against frightening unknowable aliens.
A conceptual observation of glitch, however, would provide another view; glitch, not as an error, but as a rhythm of recursive generation of a pattern, which is simultaneously singular and multiple. This paradoxical concept of glitch envisions the real and virtual power of a non-digital and in-formal logic as the potential of the technological environment. It is not simply a break cutting into a connection or opening a hole into a containment. It is not statistical digital uncertainty of unpredictable contingencies or the coming transcendental future. On the contrary, it is a sensation of immaterial materialities of the networks to metamorphose their process of auto-production. They are the conditions of the possibilities of the techno-political ecology. This rhythm is felt resonance of autonomous-and-heteronomous vibrations of the living singularities.
An ethico-aesthetic task of media as singularities is to construct a sensor for these living singularities, transducing them into the sensible as an existing alternative track: Media, the immanent future.

 

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