Showing posts with label artworks. Show all posts
Showing posts with label artworks. Show all posts

07/09/25

Visual Language: The Art of Irving Penn - Auction @ Phillips, New York

Visual Language: The Art of Irving Penn
Phillips, New York
Auction viewing: 30 September – 7 October 2025
Auction: 8 October 2025

Irving Penn
Irving Penn
Mouth (For L’Oréal) (A), New York, 1986
© The Irving Penn Foundation, © Condé Nast
Estimate: $200,000 – 300,000

Irving Penn
Irving Penn
Harlequin Dress (Lisa Fonssagrives-Penn), New York, 1950
© The Irving Penn Foundation, © Condé Nast
Estimate: $200,000 – 300,000

Irving Penn
Irving Penn
Ginkgo Leaves, New York, 1990
© The Irving Penn Foundation, © Condé Nast
Estimate: $200,000 – 300,000

Phillips will host Visual Language: The Art of Irving Penn, a landmark auction of photographs and artworks from The Irving Penn Foundation. This standalone sale, featuring photographic prints and paintings that Penn made during his seven decades-long career, marks the first time that the foundation has offered the artist's work through auction. This historic event will celebrate Penn’s remarkable talents, highlighting his unique vision and masterful craftsmanship across a variety of photographic print processes. The 70-lot sale will take place on 8 October 2025 ahead of Phillips' seasonal Photographs sale on 9 October.
Tom Penn, Executive Director of The Irving Penn Foundation, said, “As stewards of Irving Penn's artistic legacy since 2010, this auction is a pivotal moment for The Irving Penn Foundation as we aspire to expand our charitable and educational program. My father would say to me, ‘whatever you do in life, do it with complete passion.’ It was with passion that he sought excellence in everything he did, and each object included in this sale reflects the innovation and exactitude that defined Penn’s practice. The artworks selected for the auction span the range of mediums and subjects Penn explored across his career, presenting rarely seen images alongside his most well-known photographs that provide a new perspective on the diversity of his production. Through this carefully considered sale, we demonstrate Irving Penn's mastery and enduring influence in the field of photography.”
Irving Penn
Irving Penn
Black and White Hat, New York, 1950
© The Irving Penn Foundation, © Condé Nast
Estimate: $25,000 – 35,000

Irving Penn
Irving Penn
Untitled, circa 1987
© The Irving Penn Foundation, © Condé Nast
Estimate: $30,000 – 50,000

Irving Penn
Irving Penn
Miles Davis Hand on Trumpet,
New York, 1986
© The Irving Penn Foundation, © Condé Nast
Estimate: $70,000 – 90,000

Irving Penn
Irving Penn
Télégraphiste, Paris, 1950
© The Irving Penn Foundation, © Condé Nast
Estimate: $30,000 – 50,000

Irving Penn was one of the 20th century’s most significant photographers, known for his arresting images, technical mastery, and quiet intensity. Though he gained widespread acclaim as a leading Vogue photographer for over sixty years, Penn remained a private figure devoted to his craft. Trained under legendary art director Alexey Brodovitch in Philadelphia, he began his career assisting at Harper’s Bazaar before joining Vogue in 1943, where editor and artist Alexander Liberman recognized Penn’s distinctive eye and encouraged him to pursue photography. Penn’s incomparably elegant fashion studies reset the standard for the magazine world, and his portraits, still lifes, and nude studies broke new ground. His 1960 book Moments Preserved redefined the photographic monograph with its dynamic layout and high-quality reproductions. In 1964, Penn began printing in platinum and palladium, reviving this 19th-century process to serve his own distinct vision. He was one of the first photographers to benefit from the burgeoning fine art photography market of the 1970s, and he earned a growing following of collectors and curators leading to major exhibitions at The Museum of Modern Art, The Metropolitan Museum of Art, Moderna Museet, Stockholm, Art Institute of Chicago, and National Portrait Gallery, London, among many other institutions.

Irving Penn
Irving Penn
Irving Penn in a Cracked Mirror (Self-Portrait) (A)
New York, 1986
© The Irving Penn Foundation, © Condé Nast
Estimate: $25,000 – 35,000

Irving Penn
Irving Penn
Mud Glove, New York, 1975
© The Irving Penn Foundation, © Condé Nast
Estimate: $50,000 – 70,000

Irving Penn
Irving Penn
Three Tulips ‘Red Shine’, ‘Black Parrot’, ‘Gudoshnik’
New York, 1967
© The Irving Penn Foundation, © Condé Nast
Estimate: $70,000 – 90,000

Irving Penn
Irving Penn
Marriageable Young Woman of Imilchil, Morocco, 1971
© The Irving Penn Foundation, © Condé Nast
Estimate: $20,000 – 30,000

An innovator in every sense, Penn’s approach to photography was bold. Few photographers of his generation experimented as widely with both conventional and historic print processes, and none achieved Penn’s level of excellence in all. Phillips’ auction will feature work in a variety of photographic media, including Penn’s bravura gelatin silver prints, such as Coffee Pot, nuanced platinum-palladium prints like Harlequin Dress (Lisa Fonssagrives-Penn), and rare dye-transfer prints, led by the iconic Ginkgo Leaves.
Vanessa Hallett, Phillips’ Deputy Chairwoman and Worldwide Head of Photographs, said, “Irving Penn was one of the foremost photographers of our time, standing alongside the great contemporary artists who have come to define the 20th-century art historical canon. Today, Penn’s vision and skill remain unequaled. Phillips is honored to work with the foundation in its 20th-anniversary year, shining a spotlight on Penn’s technical genius, creative process, and extraordinary output while presenting this groundbreaking work to a new audience. These works were preserved for decades by the artist and his foundation, hence their incredible provenance and condition. We are thrilled to provide a platform that educates the next generation of collectors on Penn’s impact, while assisting the foundation further its mission of preserving and advancing Penn’s legacy for years to come.”
Irving Penn
Irving Penn
Cracked Egg, New York, 1958
© The Irving Penn Foundation, © Condé Nast
Estimate: $30,000 – 50,000

Irving Penn
Irving Penn
Cigarette No. 37, New York, 1972
© The Irving Penn Foundation, © Condé Nast
Estimate: $150,000 – 250,000

Irving Penn
Irving Penn
Coffee Pot, New York, 2007
© The Irving Penn Foundation, © Condé Nast
Estimate: $20,000 – 30,000

Heralding an exceptional opportunity for collectors, many of the works selected from the foundation's archives have never before appeared at auction; this includes several examples from Penn's influential 1950 Black and White series for Vogue, and the large-scale four-panel platinum-palladium print of Mud Glove with typography advertising his 1977 Street Material exhibition at The Met. In addition to his work as a photographer, Irving Penn was also an accomplished painter and draftsman. For the first time at auction, Phillips will also showcase his work in these mediums, taking the opportunity to set forth the full range of this remarkable artist's creative output.

The Irving Penn Foundation was established in 2005 to promote knowledge and understanding of Irving Penn’s artistic legacy, including the diversity of techniques, mediums, and subject matters the artist explored. It is the largest repository of Irving Penn's work.

PHILLIPS NEW YORK 
432 Park Avenue, New York, NY 10022
Click here for more information: 

Global Icons, Local Spotlight: Contemporary Art from the Collections of Jordan D. Schnitzer @ Portland Art Museum

Global Icons, Local Spotlight: Contemporary Art from the Collections of Jordan D. Schnitzer
Portland Art Museum
September 6, 2025 – January 11, 2026

Jeff Koons
Jeff Koons
, American, (b. 1955)
Gazing Ball (da Vinci Mona Lisa), edition 38/40, 2016
Archival pigment print with inlaid mirrored glass
40 11/16 x 27 3/4 in. Overall
Published by Two Palms, New York, NY
Collection of Jordan D. Schnitzer
© Jeff Koons
Photography Courtesy of the artist and Two Palms, NY


Dinh Q. Le
Dinh Q. Lê
, Vietnamese-American, (1968 - 2024)
I am Large, I Contain Multitudes, edition AP 1/1, 2009
Bicycle, steel, mirrors, wood, plastic, rubber, and metal lock
72 x 90 x 40 in. Overall, 90 x 106 1/2 x 57 in. Crate
Published by the artist
Collection of the Jordan Schnitzer Family Foundation
© Courtesy of Elizabeth Leach Gallery and the Dinh Q. Lê Estate
Photography Aaron Wessling

Amy Sherald
Amy Sherald
, American, (b. 1973)
As Soft as She Is..., edition 2/35, 2024
70-color screenprint on Lana Aquarelle 600 gsm
50 5/8 x 42 3/8 x 1 3/4 in. Frame, 
45 1/4 x 37 in. Sheet, 40 1/4 x 32 in. Image
Published by Hauser & Wirth, New York, NY
Collection of the Jordan Schnitzer Family Foundation
© Amy Sherald. Courtesy the artist and Hauser & Wirth
Photography Aaron Wessling

Portland Art Museum (PAM) presents Global Icons, Local Spotlight: Contemporary Art from the Collections of Jordan D. Schnitzer, an exhibition that shares works from Oregon’s foremost fine art collector by some of today’s leading artists with local Portland audiences.

Highlighting recent acquisitions from the collections of Jordan Schnitzer and his Family Foundation, the exhibition includes more than 75 works—some of which have never previously been exhibited—by celebrated artists of the 20th century, such as Louise Bourgeois, Jasper Johns, Ellsworth Kelly, and Robert Rauschenberg, in addition to contemporary luminaries such as Nick Cave, Jenny Holzer, Mickalene Thomas, and Hank Willis Thomas.

Jordan Schnitzer, who has been named an ARTnews Top 200 art collector globally, is a lifelong Portland resident and local business owner. His collaboration with PAM to exhibit these collections is an extension of the Jordan Schnitzer Family Foundation’s mission to share art with audiences across the globe.
“Instead of having to travel to New York City to go to the Museum of Modern Art or the Whitney, all you have to do is visit the Portland Art Museum to see exceptional artwork by some of today’s biggest artists," said Jordan Schnitzer. “Each year, when I collect new works, I think about how to share them with museums across the country through the Jordan Schnitzer Family Foundation exhibition program. My hope is that they will inspire audiences who might not otherwise have the opportunity to see works by these amazing artists.”
Jeffrey Gibson
Jeffrey Gibson
Native American, Mississippi Band of Choctaw Indians 
and Cherokee, (b. 1972)
SPIRIT AND MATTER, 2023
Acrylic paint on elk hide inset in custom wood frame
90 x 72 1/2 x 5 in. Frame
Collection of the Jordan Schnitzer Family Foundation
© Jeffrey Gibson
Photography Aaron Wessling

Tschabalala Self
Tschabalala Self
, American, (b. 1990)
Untitled (Bodega Run), 2023
Unique cast and pigmented paper in artist designed frame
40 1/4 x 49 1/4 in. Sheet, 45 3/4 x 54 3/4 x 6 7/16 in. Frame
Published by Two Palms, New York, NY
Collection of the Jordan Schnitzer Family Foundation
Courtesy of the artist and Two Palms, NY
Photography Aaron Wessling

Katherine Bernhardt
Katherine Bernhardt
, American, (b. 1975)
Untitled, 2024
Monotype in watercolor and crayon
100 3/4 x 52 3/4 x 2 5/8 in. Frame, 96 x 48 in. Sheet
Published by Two Palms, New York, NY
Collection of the Jordan Schnitzer Family Foundation
Courtesy of the artist and Two Palms, NY
Photography Aaron Wessling

The exhibition features works across various media including paintings, textiles and tapestries, sculpture, photography, glass, ceramics, mixed media, and more, many of which will be shown publicly for the first time. Additional artists in the exhibition include Roy Lichtenstein, Jeff Koons, Helen Frankenthaler, Andy Warhol, Keith Haring, Dinh Q. Lê, Julie Mehretu, and Tschabalala Self. The wide array of artists represented in this presentation includes numerous women, Native American and Black artists, and other artists of color, building on PAM’s own work to spotlight underrepresented artists who represent the myriad communities that comprise Oregon.
“Portland Art Museum is a vital cultural resource for the region, which is why we are thrilled to partner with the Jordan Schnitzer Family Foundation collection to provide our community more opportunities to access and find inspiration in the art that brings the world to Portland,” said Brian Ferriso, Director. “Jordan and his family have long been ardent supporters of the Museum and our city, and we are grateful for his collaboration with PAM to further our mission to engage and enrich Portland’s diverse communities through art.”
Nick Cave
Nick Cave
, American, (b. 1959)
Rescue, 2014
Mixed media including ceramic birds, metal flowers, 
ceramic Basset Hound, and vintage settee
70 x 50 x 40 in. Overall
Collection of the Jordan Schnitzer Family Foundation
© Nick Cave. Photo by James Prinz Photography 
Courtesy of the artist and Jack Shainman Gallery, New York

Alison Saar
Alison Saar
, American, (b. 1956)
Plucked, 2022
Charcoal and acrylic on vintage cotton picking bag, 
found hooks and chain, 93 x 28 in. Overall
Collection of the Jordan Schnitzer Family Foundation
© Alison Saar. Courtesy of L.A. Louver, Venice, CA.
Photography Aaron Wessling 

Christopher Myers
Christopher Myers
, American, (b. 1974)
Let the Mermaids Flirt with Me, 2022
Stained glass lightboxes and tent
42 3/4 x 42 3/4 x 5 in. Frame
Collection of the Jordan Schnitzer Family Foundation
© Christopher Myers 2022 
Courtesy of the artist and James Cohan, New York 
Photo by Dan Bradica

Other notable works in the exhibition include Christopher Myers' immersive and mesmerizing installation Let the Mermaids Flirt with Me, on view for only the second time since debuting at Art Basel Miami in 2022. Featured in the Museum’s grand Arlene and Harold Schnitzer Sculpture Court, the installation is a suite of stained glass paintings in lightboxes installed within a freestanding octagonal architectural structure, creating a chapel for contemplation of the illuminated compositions.

Several of the artists featured in the exhibition have previously exhibited works at PAM or are represented within PAM’s encyclopedic collection, including Hank Willis Thomas, with whom PAM organized a traveling solo exhibition in 2019, and Jeffrey Gibson, whose work PAM commissioned and exhibited at the Museum in 2023 before serving as co-commissioner for his exhibition for the U.S. Pavilion at the 60th International Art Exhibition of La Biennale di Venezia (the Venice Biennale).

PAM has also previously featured works from the collections of Jordan Schnitzer in its exhibitions including En Suite: Contemporary Prints from the Collections of Jordan D. Schnitzer and The Jordan Schnitzer Family Foundation (2001), Location/Dislocation: Recent Prints from the Collections of Jordan D. Schnitzer and The Jordan Schnitzer Family Foundation (2003), Minimalism/Postminimalism: Selections from the Collections of Jordan D. Schnitzer and His Family Foundation (2007), Ellsworth Kelly Prints (and Paintings) (2012), Anish Kapoor: Prints from the Collections of Jordan D. Schnitzer (2015), Andy Warhol Prints (2016), Josiah McElheny’s Cosmic Love (2018), and Jeffrey Gibson: To Name An Other (2022).

This exhibition is organized by the Portland Art Museum in partnership with The Jordan Schnitzer Family Foundation. 

ABOUT THE JORDAN SCHNITZER FAMILY FOUNDATION

Jordan Schnitzer
Jordan Schnitzer 
Courtesy of Jordan Schnitzer Family Foundation

The Jordan Schnitzer Family Foundation’s contemporary art collection is one of the most notable in North America. The Foundation has shared its art with millions across the U.S. and internationally through groundbreaking exhibitions, publications, and programs. Founded by ARTnews Top 200 Collector Jordan D. Schnitzer—whose passion for art began in his mother’s contemporary art gallery in Portland, Ore.—the Foundation has organized over 180 exhibitions from its collection and additionally loaned thousands of artworks to over 120 museums at no cost to the institutions. Jordan Schnitzer began collecting contemporary prints and multiples in 1988 and today is North America’s largest print collector. His Foundation’s collection consists of more than 22,000 works of art, including a wide variety of prints, sculptures, paintings, glass, and mixed media works.

PORTLAND ART MUSEUM - PAM
1219 SW Park Avenue Portland, OR 97205

02/09/25

Jangueando: Recent Acquisitions, 2021-2025 Exhibition @ El Museo del Barrio, New York

Jangueando: Recent Acquisitions, 2021-2025 
El Museo del Barrio, New York 
August 28, 2025 — Summer 2026 

Laura Aguilar
Laura Aguilar
Plush Pony #25, 1992
Gelatin silver print 
Collection of El Museo del Barrio, New York 
Gift of the Acquisitions Committee
Photo by Matthew Sherman 

william cordova
william cordova 
2 tienes santo pero no eres Babalawo, 2023 
Mixed media 
Collection of El Museo del Barrio, New York 
Gift in memory of Rudy Perez

Danielle De Jesus
Danielle De Jesus 
Loyalty like this doesn't exist anymore, 2021 
Oil on linen 
Collection of El Museo del Barrio, New York
Gift of Noah Roy 
Photo by Dario Lasagni

Mundo Meza
Mundo Meza 
Kuikuro Jakui Flutes, 1976 
Acrylic on canvas 
Collection of El Museo del Barrio, New York 
Gift of the Estate of the artist 
Photo by David Frantz

El Museo del Barrio in New York presents Jangueando: Recent Acquisitions, 2021–2025, a dynamic exhibition showcasing 39 newly acquired works by 36 artists that reflect the Museum’s ongoing commitment to representing the cultural vibrancy and complexity of Latinx and Latin American communities. This exhibition marks a bold and celebratory moment for El Museo’s evolving Permanent Collection.
Jangueando embodies El Museo del Barrio’s unwavering commitment to artists whose work captures the complexities, resilience, and brilliance of our Latine culture. In this moment of heightened threats, this exhibition becomes more than a celebration—it asserts the power of gathering—of hanging out—as a form of resistance, healing, and transformation.” —Patrick Charpenel, Executive Director, El Museo del Barrio.
The title is a play on words. It looks to janguear, Puerto Rican slang for socializing with friends. From hanging out to hanging art, here it uses the museum context to create a space of dialogue and gathering. At a time when many of the communities represented by El Museo del Barrio are under attack—through immigration raids, backlash against DEI initiatives, and the cancellation of federal grants—these multiple interpretations imply both solidarity and a political call to action through holding space and kinship.

Hiram Maristany
Hiram Maristany
The Gathering, 1964/2022
Silver gelatin print
Collection of El Museo del Barrio, New York 
Museum Purchase

Carlos Motta - Higinio Bautista
Carlos Motta
with Higinio Bautista 
Shaman Boa, 2023 
Carved wood 
Collection of El Museo del Barrio, New York 
Gift of the Acquisitions Committee 

Benjamin Munoz
Benjamin Muñoz 
Contract Labor, 2024 
Chine collé woodcut on paper 
Collection of El Museo del Barrio, New York 
Gift of Benjamin & Julianna Muñoz

Jaime Munoz
Jaime Muñoz 
Metal Only, 2022
Acrylic, glitter, paper, and velvet on wood panel
Collection of El Museo del Barrio, New York
Gift of Lio Malca

El Museo del Barrio’s Permanent Collection of more than 8,500 artworks was shaped by the Museum’s unique history as an artist-led, community-focused institution from when it was first established in 1969. The founding community of the Museum faced extreme racism and economic hardship and insisted that art had the power to help communities connect in the face of these trials and, together, imagine alternative ways of being.

Jangueando brings together 39 works by artists at various stages in their careers, representing a range of generations, cultural perspectives, and media—including painting, photography, sculpture, and video. Organized into thematic clusters, select groupings build on the museum’s historical strengths, such as Puerto Rican and Nuyorican portraiture, Latinx photography, and printmaking. The exhibition also highlights the evolution of the museum’s collecting strategy, with renewed focus on queer artists and those of Indigenous descent.
“Ever evolving, El Museo del Barrio’s distinct Permanent Collection stands as a testament to the artists, cultural workers, donors, and community members who have helped build and shaped it over time,” says Susanna V. Temkin, Interim Chief Curator, El Museo del Barrio. “Jangueando marks an exciting new chapter in the Museum’s evolution as a collecting institution—serving not only as a platform to debut new acquisitions, but also as a reflection of our shared, collective spirit. The exhibition offers both a framework and a provocation to what is at stake in being together.”

Juan Sanchez
Juan Sánchez 
Still from Unknown Boricua Streaming: 
Nuyorican State of Mind, 2011 
Video, color with sound, 8:09 mins 
Collection of El Museo del Barrio, New York
Gift of Javier Lumbreras

Ethel Shipton
Ethel Shipton 
Change Cambio, 2020 
House paint and vinyl on wooden panel 
Collection of El Museo del Barrio, New York 
Gift of the artist and Ruiz-Healy Art 

Daiara Tukano
Daiara Tukano 
Hori, 2023 
Acrylic on canvas
Collection of El Museo del Barrio, New York 
Gift of Daiara Tukano and Millan

Artists whose works are on view in the exhibition include:

Eduardo Abaroa (1968, Mexico City, Mexico; lives in Mexico City)
Laura Aguilar (1959, San Gabriel, CA – 2018, Long Beach, CA)
José Alicea (1928, Ponce, Puerto Rico; lives in Río Piedras, Puerto Rico)
Lola Álvarez Bravo (1903, Lagos de Moreno, Mexico - 1993, Mexico City, Mexico)
assume vivid astro focus (formed in New York, NY in 2001)
Myrna Báez (1931, Santurce, Puerto Rico – 2018, Hato Ray, Puerto Rico)
Higinio Bautista
Eloy Blanco (1933, Aguadilla, Puerto Rico – 1984, New York, NY)
Luis Carle (1962, San Juan, Puerto Rico; lives in New York, NY)
Los Carpinteros (formed in La Havana, Cuba in 1992)
Manuel Chavajay (1982, San Pedro La Laguna, Guatemala, lives in San Pedro La Laguna)
william cordova (1971, Lima, Peru; lives in North Miami Beach, FL)
Abraham Cruzvillegas (1968, Mexico City, Mexico; lives in Mexico City)
Danielle De Jesus (1987, Brooklyn, NY; lives in Brooklyn)
Sandra Gamarra Heshiki (1972, Lima, Peru; lives in Madrid, Spain)
Luis Gispert (1972, Jersey City, NJ)
Matías González Chavajay (b. 1959, San Pedro La Laguna, Guatemala, lives in San Pedro La Laguna)
Pedro Rafael González Chavajay (b. 1956 in San Pedro la Laguna, Guatemala, lives in San Pedro La Laguna)
Julia Isidrez (1967, Itá, Paraguay; lives in Itá)
Antonio C. Ixtamer (b. in 1968 in San Juan la Laguna, Guatemala, lives in San Juan la Laguna, Guatemala)
Lidia Lisbôa (1970, Guaira, Brazil; lives and works in São Paulo, Brazil)
Marepe (Marcos Reis Peixoto) (1970, Santo Antônio de Jesus Bahia, Brazil; lives in Santo Antônio de Jesus)
Hiram Maristany (1945, New York, NY – 2022, St. Petersburg, FL)
Maria Teodora Mendez de González
Mundo Meza (1955, Tijuana, Mexico - 1985, Los Angeles, CA)
Carlos Motta (1978, Bogota, Colombia; lives in New York, NY)
Benjamin Muñoz (1993, Dallas, TX; lives in Dallas)
Jaime Muñoz (1987, Los Angeles, CA; lives and works in Pomona, CA)
Paula Nicho Cúmez (1955, Comalapa, Guatemala, lives in Comalapa)
Miguel Pou y Becerra (1880, Ponce, Puerto Rico - 1968 San Juan, Puerto Rico)
Juan Sánchez (1954, Brooklyn, NY; lives in Brooklyn)
Ethel Shipton (1963, Laredo, TX; lives in San Antonio, TX)
Valeska Soares (b. 1957, Belo Horizonte; lives in Brooklyn)
Laureana Toledo (1970, Ixtepec, Mexico; lives in Mexico City, Mexico)
Rigoberto Torres (1960, Aguadilla, Puerto Rico; lives in New York, Puerto Rico, and Florida)
Daiara Tukano (1970, Guaira, Brazil; lives and works in São Paulo, Brazil)

The exhibition is organized by the Curatorial Department of El Museo del Barrio: Zuna Maza, Lee Sessions, and Susanna V. Temkin, with María Molano Parrado.

EL MUSEO DEL BARRIO, NEW YORK
1230 5th Avenue at 104th Street, New York, NY 10029 

01/09/25

Wayne Ngan @ James Cohan Gallery, NYC - "Spirit and Form" Ceramics Exhibition

Wayne NganSpirit and Form
James Cohan Gallery, New York
September 5 — October 4, 2025 

Wayne Ngan Ceramics
Wayne Ngan 
Yellow Vase with Lugs, 2016, Rust Coloured Vase, 2017 
Yukon Black Jar with Geometric Lugs, c. 2000s, 
Thin Vase with Cast Iron Glaze, 2014, White Vase, 2016 
Photo courtesy of James Cohan Gallery

Wayne Ngan (b. 1937 Guangdong, China - d. 2020 Hornby Island, BC, Canada) is recognized as one of Canada’s premier ceramic artists. Ngan’s lengthy career spanned over six decades. At the age of thirteen, Wayne Ngan moved from Guangdong, China to a vastly different British Columbia, Canada. Wayne Ngan was determined to make a name for himself as an artist despite challenging circumstances. His practice drew influence from traditional Chinese, Korean, and Japanese pottery, as well as Modernist painting, pre-Columbian and ancient Egyptian art. Ngan’s extensive knowledge of these historic precedents and his connection to the natural beauty of Canada’s Hornby Island informed his abstract sculptural forms. This exhibition at James Cohan spotlights a selection of cornerstone works, created in the 1990s and the last decade of the artist’s life.

Inspired by the back-to-the-land movement, popularized in the 1960s and 70s, Wayne Ngan centered his life and artistic practice around a harmonious relationship with the environment anchored in self-sufficiency. Ngan sourced natural materials both to build his home and studio on Hornby Island, and also to fuel his artmaking, experimenting with creating various glazes from clay like Yukon black, a deep noir glaze with high shine. Ngan was committed to exploring process, using the wealth of knowledge he gained from his regular travels to China and Japan as well as independent research to refine techniques such as raku, hakeme (coarse brush decoration), and salt glazing. Waynes Ngan built his forms by throwing and altering pieces of clay, then sculpting them together. He would occasionally fashion elements that extend outwards and generate curvilinear, spouted openings in others. Here, elegantly elongated vessels in earth tones are in dialogue with compact lidded forms, which seem to contain the energy Ngan expended to render them. Their surfaces are varied – ranging from textural and patterned to slick and smooth. According to Wayne Ngan, “There are two ways of looking at pots: one is the actual clay pot, but the real pot to me is all around me—the spirit of the pot.”

Through his work in clay, Wayne Ngan fused East and West, the past and the present, collapsing disparate chronologies and geographies into intimate, evocative objects.

CERAMIC ARTIST WAYNE NGAN

Wayne Ngan studied at the Emily Carr University of Art and Design, formerly the Vancouver School of Art. The influential teachings of British potter Bernard Leach and Soetsu Yanagi, founder of the Mingei, a Japanese folk art movement (prioritizing beauty in the everyday) resonated strongly with ceramic artists in British Columbia, including Wayne Ngan. In 1967, Wayne Ngan settled on Hornby Island, where he lived and worked until his passing in 2020.

Wayne Ngan’s work has been exhibited in numerous solo and group exhibitions since the 1960s at venues including the Vancouver Art Gallery; the National Gallery of Canada; the Gardiner Museum, Toronto; Hanart Art Gallery, Taipei, Taiwan; Nathalie Karg Gallery, New York; the Art Gallery of Greater Victoria; The Apartment in Vancouver; and the American Crafts Museum, Concord, Massachusetts, among others. Ngan’s ceramics are in notable public collections such as the Vancouver Art Gallery, the Montréal Museum of Fine Art, the Gardiner Museum, the National Palace Museum (Taipei, Taiwan), the Art Gallery of Greater Victoria, the Canadian Museum of Civilization, and the Morris and Helen Belkin Art Gallery, University of British Columbia.

JAMES COHAN
48 Walker Street, New York, NY 10013

31/08/25

Kim Tschang-yeul 김창열 @ MMCA Seoul - National Museum of Modern and Contemporary Art, Korea - Retrospective Exhibition

Kim Tschang-yeul 김창열
National Museum of Modern and Contemporary Art, Korea, Seoul
22 August – 21 December 2025

Kim Tschang-yeul
Exhibition Poster 
Image provided by MMCA

Kim Tschang-yeul
Kim Tschang-yeul
Waterdrops SH87030, 1987 
Oil paint and newspaper on hemp, collage, 195×300 cm 
MMCA collection
Image provided by MMCA

Kim Tschang-yeul
Kim Tschang-yeul
Installation view at MMCA
Photograph by image Joom, Image provided by MMCA

The National Museum of Modern and Contemporary Art, Korea (MMCA) presents the first large-scale posthumous retrospective of Kim Tschang-yeul (1929–2021), a seminal figure in Korean contemporary art.

The MMCA has consistently organized exhibitions grounded in research on senior artists and art history to consolidate the foundations of Korean contemporary art and elevate its stature. As part of these efforts, this exhibition provides a comprehensive reappraisal of Kim Tschang-yeul’s oeuvre within the broader contexts of Korea’s modern and contemporary history and art history.

Kim Tschang-yeul was a leading figure of Korea’s art informel movement in the 1950s, pioneering a synthesis of Western contemporary art idiom and Korean sensibilities. Following his time in New York starting in 1965, he settled in Paris in 1969, persistently experimenting to forge an independent artistic language in response to the times. The motif of the water drop, which emerged in the early 1970s and remained central to Kim’s practice for the rest of his life, became a symbol synonymous with the artist himself.

This retrospective closely examines Kim’s artistic journey, with particular focus placed on the fundamental aesthetics embedded in his work and the evolution of his water drop paintings. The exhibition also seeks to deepen the relatively scarce research on the artist, offering an opportunity to reassess the identity and contemporary significance of Korean art.

The exhibition unfolds across Galleries 6 and 7 in four sections: “Scar,” “Phenomenon,” “Waterdrops,” and “Recurrence.” Gallery 8, serving as a type of appendix to the exhibition, presents unpublished archival materials and works that allow visitors to encounter the artist’s life and creative process from multiple perspectives.

Kim Tschang-yeul
Kim Tschang-yeul
Installation view at MMCA
Photograph by image Joom, Image provided by MMCA

Kim Tschang-yeul: Scar

The first section, “Scar,” centers on Kim’s early works and traces the historical circumstances and artistic activities that shaped his practice. Born in Maengsan, Pyeongannam-do, Kim Tschang-yeul relocated south alone at the age of 16, leaving his hometown behind. Having lived through Korean liberation, division, and war, he inevitably internalized the realities of life and death—an experience that became a crucial foundation for his art. Driven by a desire for new forms of art, he co-founded the Hyundae Fine Artists Association in the late 1950s, which became a pivotal starting point for visualizing the wounds of the era and led the informel movement. Kim Tschang-yeul also pioneered the internationalization of Korean contemporary art by participating in global platforms such as the Paris Biennale (1961) and São Paulo Biennial (1965), which marked key turning points in his artistic career. Along with works exhibited at the São Paulo Biennial, this section features Kim’s pre-informel works such as Sunflower (1955)—shown publicly for the first time—and his cover illustrations for the Police Academy’s bimonthly magazine Gyeongchal sinjo from his time as a police officer, providing insight into both the artist’s formative period and the social realities he confronted.

Kim Tschang-yeul
Kim Tschang-yeul
Rite, 1965
Oil paint on canvas, 162×130cm 
MMCA collection
Image provided by MMCA

Kim Tschang-yeul
Kim Tschang-yeul
Rite, 1966 
Oil paint on canvas, 162×137 cm 
MMCA collection
Image provided by MMCA

Kim Tschang-yeul
Kim Tschang-yeul
Installation view at MMCA
Photograph by image Joom, Image provided by MMCA

Kim Tschang-yeul
Kim Tschang-yeul
Untitled, 1969 
Oil paint on canvas, 20.5×20.7 cm 
MMCA collection
Image provided by MMCA 

Kim Tschang-yeul
Kim Tschang-yeul
Composition, 1970
Acrylic paint and cellulose lacquer on canvas, 150×150cm
Private collection
Image provided by MMCA

Kim Tschang-yeul
Kim Tschang-yeul
Procession, 1971 
Acrylic paint and cellulose lacquer on linen, 150×150cm
Private collection
Image provided by MMCA

Kim Tschang-yeul: Phenomenon

The second section, “Phenomenon,” focuses on Kim’s works from the transitional years spent in New York and Paris, surveying the underexamined origins of his abstract paintings and the formal signs that prefigured the water drop motif. Encouraged by artist Kim Whanki (1913–1974), Kim Tschang-yeul moved to New York in 1965 with support from the Rockefeller Foundation. However, his informel paintings failed to garner attention there, and the emotional dissonance he experienced in a capitalist consumer society left him with a profound sense of alienation and doubt. During this period, he sought a departure from the thick impasto of art informel, experimenting with refined surfaces, geometric forms, and illusory spatial effects. After relocating to Paris in 1969, Kim Tschang-yeul produced the Phenomenon series, in which the previously rigid geometric forms seem to dissolve into organic shapes, while condensed masses are rendered with a mucilaginous quality reminiscent of human organs. These experiments serve as an important precursor to the water drop paintings. On view for the first time in Korea are 8 previously unexhibited paintings from Kim’s New York period, and 11 drawing works from that time, and a 2 water drop painting from 1971 that predates Event of Night (1972), long considered his first water drop work.

Kim Tschang-yeul
Kim Tschang-yeul
Waterdrops ABS N°2, 1973
Oil paint on canvas, 195×130 cm 
Wellside Gallery collection
Image provided by MMCA

Kim Tschang-yeul
Kim Tschang-yeul
Waterdrops, 1979
Oil paint on canvas, 80.5×100cm 
Private collection
Image provided by MMCA

Kim Tschang-yeul
Kim Tschang-yeul
Waterdrops, 1986
Acrylic paint and oil paint on canvas, 73×50 cm 
Private collection
Image provided by MMCA

Kim Tschang-yeul
Kim Tschang-yeul
Installation view at MMCA
Photograph by image Joom, Image provided by MMCA

Kim Tschang-yeul: Waterdrops

The third section, “Waterdrops,” illuminates the defining characteristics and development of Kim’s iconic water drop paintings. The mucilaginous, amorphous masses on his canvas finally transform into complete forms—clear water droplets. These droplets aren’t a product of chance but the culmination of sustained formal experimentation and ontological reflection. Even in the austere environment of a converted stable on the outskirts of Paris, Kim remained devoted to his water drop paintings, eventually garnering recognition with his 1973 solo exhibition in Paris. Initially, Kim Tschang-yeul employed an air-spray technique to render hyperrealistic water drops, later expanding the formal possibilities of his work by reconfiguring the physical relationship between paint and canvas, incorporating stains, and adopting collage techniques. More than mere depictions of material form, Kim’s water drops resonate with East Asian philosophical traditions, functioning as vehicles for meditation while simultaneously evoking a surreal sensibility that entrenched the motif as his distinctive artistic language. This section presents key works from the Water Drop series, ranging from early (1973) to late.

Kim Tschang-yeul
Kim Tschang-yeul
Recurrence SNM93001, 1991
Ink and oil paint on hemp, 300×195 (×4) cm
MMCA collection
Image provided by MMCA

Kim Tschang-yeul
Kim Tschang-yeul
Installation view at MMCA
Photograph by image Joom, Image provided by MMCA

Kim Tschang-yeul: Recurrence

The final section, “Recurrence,” probes the source of Kim’s artistic creation and thought through the interplay of language and image in Kim’s Thousand Character Classic paintings. In the mid-1980s, Kim began incorporating text into his compositions, opening a new realm of expression. While painting water drops on newspaper, he became acutely aware of the intimate relationship between text and image, which subsequently led to his Recurrence series using the Thousand Character Classic. For Kim Tschang-yeul, the Thousand Character Classic was not merely a text but a symbolic system through which he grasped the order of nature and the cosmos. The text is also deeply tied to his childhood. Kim Tschang-yeul filled his canvases with the text as if practicing calligraphy on parchment paper, an act that signified both a return to youth and a reaffirmation of East Asian sensibilities, ultimately opening a space for profound philosophical musings. In his later years, the water drop became Kim’s existential companion, bridging life and art, while the Recurrence series evolved into an act of requiem, suturing life’s scars through brushwork. The Recurrence series, in which text and water drops converge, constitutes both a formal achievement reflecting the essence of his art and evidence of his profound reflection on the roots of existence. This gallery features Recurrence SNM93001 (1991), a monumental 7.8-meter-wide painting from the MMCA collection being shown for the first time, along with an abridged version of the film The Man Who Paints Water Drops, in which Kim Tschang-yeul recounts his life and artistic journey.

After leaving the converted stable in the Paris suburb of Palaiseau for an apartment, Kim Tschang-yeul replaced the nameplate on his door with a single water drop. There, he was affectionately known as “Monsieur Gouttes d’eau” (Mr. Water Drop), and his studio became a kind of sarangbang—a convivial space where artists and friends gathered. The archival section prepared in Gallery 8, “Monsieur Gouttes d’eau, Kim Tschang-yeul,” serves as an appendix to the retrospective, revealing alternate facets of Kim’s life and art. Among the works presented is Il pleut (1973), inspired by surrealist poet Guillaume Apollinaire’s calligram of the same title, which long served as a wellspring of inspiration for Kim Tschang-yeul. The work, which translates the structure of the poem into water droplets, holds greater symbolic resonance in that it is exhibited here for the first time in Korea and abroad. Presenting rarely seen works alongside precious archival materials and large-scale photographs of Kim’s studio, this section offers visitors an intimate encounter with the life Kim Tschang-yeul lived in the company of water drops.

The exhibition catalog includes interviews with the artist, academic research on Kim’s New York works that have lacked sufficient study or exhibition, and an essay by his family, offering a thorough overview of his life. The exhibition layout, which reinterprets the oeuvre of this artist whose practice was long based in France from a fresh perspective, was designed in collaboration with Studio Adrien Gardère, known for its work with leading museums including the Louvre-Lens and the Grand Palais in Paris.
Kim Sunghee, director of the MMCA, notes, “This exhibition seeks to supplement the gaps in existing studies on Kim Tschang-yeul and provide a comprehensive view of the artist’s oeuvre, particularly works from underexplored periods. I hope that this retrospective will serve as an opportunity to rediscover and reassess Kim as an artist, while offering a rare occasion to encounter the distinctive aesthetics and sentiments inherent in his life and art.”
MMCA
NATIONAL MUSEUM OF MODERN AND CONTEMPORARY ART, KOREA
30 Samcheong-ro (Sogyeok-dong), Jongno-gu, Seoul 03062

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