News

MONOCHROME

Monochrome, a curated group exhibition showcasing selected artists from JanKossen Contemporary’s international program, will be on view from May 31 – July 14, 2018 with an opening reception from 6-8pm on May 31, 2018. The exhibition will feature artworks by Troy Simmons (USA), Dieter Kränzlein (Germany), Antonio Marra (Italy), Park Byung-Hoon (South Korean/France), Alex Rane (USA/Italy), Hannah Quinlivan (Australia), and Ye Jin-Young (South Korea) which explore the concept of monochromatic abstract art. An online catalogue will accompany the exhibition.

TroySimmons_Evolve_2016_JanKossen
Troy Simmons. Evolve, 2016. Concrete, aluminum, acrylic. 60x36x18 inches

Monochromatic art has expanded since its inception in the early 20th century painting. The exploration of value and tonal changes are used to convey a wide variety of emotions and meaning today. Beginning in Moscow with Russian Suprematist artist Kazimir Malevich with his Black Square on a White Field (1915), monochromatic art works have seen a rapid growth, particularly in New York with the likes of abstract expressionists such as Ad Reinhardt in the 50s, to minimalism with artists such as Agnes Martin and Frank Stella in the 60s. Monochrome continues this tradition and pushes the boundaries of not only the physical materials used, but the range of emotions that they are able to express.

HannahQuinlivan_It started with a spark, 2017. 35x46x7in_88x116x18cm. LED light and anodised aluminium.
Hannah Quinlivan. It Started with a Spark, 2017. LED light and anodized aluminum. 60x36x18 inches

The abstraction of form, however, does not equal a simplification of thought. By removing the chromatic range of an object, the artist encourages the viewer to fully absorb the subtle nuances in surface texture and shade, as seen in Troy Simmons’ mixed media works, as well as Alex Rane and Dieter Kränzlein’s marble sculptures. Even comparing two monochromatic abstracted sculptures, the viewer is presented with two radically different works, from the geometric abstractions of Kränzlein to the surreal abstracted figures of Alex Rane. Without the distraction of colors, viewers are also able to see the subtle surface quality as well as the artists’ application and control of materials. Although nostalgic of Frank Stella’s vibrantly colored geometric works, Antonio Marra further enhances the experience of abstraction by injecting a shock of unexpected color in an otherwise monochromatic piece.

Black and white are not true colors, but shades meant to distinguish tonal value. Traditionally these shades were made by using paint. However, even this aspect is expanded in “Monochrome” group show. Instead of mixing paints, Hannah Quinlivan employs LEDs to create shades generating through the interaction between lights and shadows. Troy Simmons and Ye Jin-young put a stronger emphasis on what can be seen from the expressive, energetic shapes to the delicate, hand-pulled clay petals.

For press inquiries or general information, please contact the gallery office at admin@jankossen.com or call at 631-903-5564.

Whispering Tranquility: Minimalist Seascape by Kim Yeong-Jea

April 3, 2018 (New York, NY) – JanKossen Contemporary is pleased to present Whispering Tranquility, a solo exhibition by South Korean photographer Kim Yeong- Jea. This exhibition will herald JanKossen Contemporary’s new exploration into photography as well as digital media. The show will be on view from April 26 – May 26, 2018 with an opening reception from 6-8pm on April 26.

Unlike Hiroshi Sugimoto who dignifies the sea as an integrate, transcendental being through a distant, primitive eye, Kim Yeong-Jea roams at the interface of evolving humanity and eternal nature. At the age of sixty-seven, Kim left home and traveled over a hundred times on the seventh national highway along the east coast of South Korea. Through the camera, Kim turns the seashore into an intimate shrine where he meditates tranquility by compressing numerous busy, ephemeral life moments into one large format image.

Tides smooth sharp edges of stones; waves crash on reefs. The seashore seems often associated with tension. However, by applying long-exposure technique, Kim Yeong-Jea transforms the dynamic sea waves into airy, pervading flows. Layers of overlapping moments resemble the accumulation of memory, which eventually reach a calm, introspective status. The sea is no longer a powerful, solemn alien indifferent to human beings, but an embodiment of mind. In Kim’s works, the sea became a metaphor of spiritual placidity which gradually emerges out of endless, energetic flows. Every single struggle adds weight and meaning to one’s life and leads the person to approach inner peace.

Kim Yeongjea_Typhoon_2013
Kim Yeong-Jea. Typhoon, 2013. Edition 1/3, photograph on Hahnamühle paper, 91 x 32 inches.

Kim’s seascape is an extending tunnel to a world where one could share the quiet, slow spiritual progress with the artist. The boundary between the sea and sky in Kim’s works is gently blurred and blended through over-exposure. The depth of field is flattened, which brings the primary focus to the repetitive geometric forms of fishery and reefs in the foreground. The subtle variation of lines and blocks triggers lively whispers in the environment, gradually soothing viewers’ mind. As going further to the vanish point, one immerses him or herself into the misty, vast negative space of the flowing sea and empty sky. In this melting, serene visual journey, one may start wondering like Kim Yeong-Jea did before: are our memory and life experience becoming hazy or sublimating into something else like the serene nature?

Kim Yeongjea_Early morming mist 2 2017_20M.jpg
Kim Yeong-Jea. Early Morning Mist 2, 2017. Edition 1/3, photograph on Hahnamühle paper, 52 x 32 inches.

About Kim Yeong-Jea

With thirty-seven-year experience in mastering camera, Kim Yeong-Jea has been experimenting with landscape photography. Kim began his fine art photography practices in the 1990s. His works have been included in major Korean and international exhibitions, such as Jangteo Photo Show at Sejong Center, International Photo Festival in Seoul, South Korea, and the 57th Venice Biennale. Kim is a member of The Photo Artist Society of Korea. He currently lives and works near Seoul, South Korea.

For press inquiries or general information, please contact the gallery office at admin@jankossen.com or call at 631-903-5564.

 

impulses, restraints, tones: New Compositions by Hannah Quinlivan

JanKossen Contemporary is pleased to present impulses, restraints, tones an exhibition by Australian contemporary artist, Hannah Quinlivan. impulses, restraints, tones is the artist’s first exhibition in New York and will be on view from March 1 – April 20, 2018 with an opening reception on March 1 from 6-8pm.

 

Hannah Quinlivan. Holdfast, 2017. Steel and PVC, 185 x 75 x8 inches.
Best known for her work within the movement of experimental drawing, Quinlivan expands upon the medium to create drawings that employ wire, steel, salt, yarn, shadow, and LED light, constantly evolving and dissecting the elements of a drawing to investigate the confines of the line itself. Twisted wire structures are the basis for her shadow drawings, which Quinlivan later develops further into sculptures; 2D drawings turn into 3D drawings, that are then turned back into 2D drawings. With a deep commitment to the exploration of and innate response to her materials, Quinlivan composes lyrical artworks that stitch together a response to the passing of time. Each element of the work is endlessly translated into an infinite looping web; traveling through our consciousness and drawing attention to the subjectivity of the phenomena of recollection and forgetting.
Hannah Quinlivan. Swallowed by the Sky, 2017. Acrylic and Indian ink on linen, 83 x 73 inches.
impulses, restraints, tones exhibits brand new “Spatial Drawings,” as well as two delicate, yet powerful, site-specific and interactive installations that respond to the gallery space and flux of bodies within it. The well-known “Spatial Drawings” walk the line between sculptural weaving and graphic mark making and explores concepts of temporal reality and memory. Quinlivan’s “Spatial Drawings” performance develops from wire armatures suspended from the ceiling. The shadows of these wire armatures are the basis for Quinlivan’s live and in-person crystalline salt drawings that will be developed over the course of three weeks during exhibition. This work, shown for the first time in New York City, forms part of a series of site-specific ephemeral drawings Quinlivan has been making in Cambridge, Berlin, Hong Kong, Australia, and Colorado from since 2016.
Hannah Quinlivan. It Started with A Spark, 2017. LED light and anodised aluminium, 35 x 46 x 7 inches.
Curator Marguerite Brown, explains “Linear threads and their manipulation have for millennia been symbolically connected to notions of time. The Moirai of ancient Greek mythology, also known at the Fates, were three goddesses who through the act of spinning thread with distaff and spindle, controlled the life of every person from birth to death, when their thread was abruptly cut. Similar female deities exist in Roman, Norse and Slavic mythologies, where thread is consistently wielded as a manifestation of destiny. As such, a simple strand and the way it is stretched, allotted and truncated, became an ancient way of comprehending the movement of a human life through time.”
ABOUT HANNAH QUINLIVAN
Hannah Quinlivan, named by BMA Magazine as one of the Six Canberra Artists to watch in 2018, was a finalist for the 2014 Alice Prize and has received such prestigious accolades as the Canberra Critic Circle Award, Shire of East Pilbara Residency Award, Cox Prize, Don Moffat & Cecilia Ng award, People’s Choice Award, Megalo Print Studio and Gallery Residency Award, and the Jan Brown Drawing Prize. She has exhibited major presentations at Canberra Museum and Art Gallery, Canberra; National Portrait Gallery, Canberra; Colorado State University, Fort Collins; Cambridge University, London, Pembroke College, Cambridge; Deakin University, Melbourne; The Hong Kong Harbourfront, Hong Kong; and Kuala Lumpur Biennale, National Art Gallery of Malaysia, Kuala Lumpur. She is in such prestigious public collections as National Gallery of Australia, Gregory Allicar Museum, The Australian High Commission (Singapore), Philip Cox Collection, Deakin University, The Australian National University, KPMG Art Collection, Gaw Capital collection, Colorado State University, Megalo Print Studio + Gallery, Shire of East Pilbara, Ormond College Collection. She was recently selected by the curators of Urban Art Projects to create a major public art commission where her work will be featured on the glazed screen of every platform of the Canberra Light Rail network.

UnBreakable – Ceramics Redefined

JanKossen Contemporary is pleased to present UNBREAKABLE: CERAMICS REDEFINED, an exhibition of figurative and figurative abstract contemporary ceramics with work by Penny Byrne, Kathy Stecko, Claire Curneen, Cathy Lewis, and Keun Woo Lee.

The connotations surrounding the medium of ceramic have historically been associated with concepts of craft and vessel. This exhibition however, brings together five contemporary artists who break down these confines to create haunting, political, religious, and poignant sculptures. Their historical consequences, contemporary conceptualism and social relevance, adhere to and break historical molds of craft while standing on the forefront of trends in contemporary sculpture.

Australian artist Penny Byrne’s sculptural works are politically charged, highly engaging and often disarmingly humorous. Using materials such as porcelain figurines, bronze, glass, vintage and found objects, Byrne’s work presents an ongoing inquiry into popular culture and international politics. Though the themes of her work are dark and heavy, the lightness and treatment of the porcelain contrasts this, formulating a new perception of these themes.

P.Byrne.Putins Poodle.2017_13x4x4in view 2 low res
Penny Byrne. Putin’s Poodle, 2017. Trump bobble head, antique porcelain figurine, epoxy resin, enamel paints, 13 x 4 x 4 inches.

Kathy Stecko’s humanoid porcelain sculptures resemble a party thrown at a haunted circus.  The elongated yet truncated limbs recall elements of 16th century mannerism, while the bulging bellies and hallow eyes resemble the psychological undertones of an Edvard Munch. These tiny sculptures hang on the wall or stand on their own pedestals to create tiny clusters of figures both affecting and endearing. Stecko lives and works in Brooklyn, NY.

KathyStecko_Fracture_2017_14.5x3.5x3in_porcelain
Kathy Stecko. Fracture, 2017. Porcelain, 14.5 x 3.5 x 3 inches.

UK-based artist Claire Curneen’s androgynous figures have always been a convergence of art history, ceramic history, and religious symbolism. Her single standing modeled figures, serve as a developed response to traditional ceramic objects such as the standing Vase, however draw upon medieval and renaissance approaches to depicting the human figure in painting. Often also referencing Medici Blue, Dutch pottery, or Japanese ceramics in her work, you will also often find gold fingers and lips recalling the important Japanese tradition of Kintsugi – the art of repairing broken pottery with lacquer dusted or mixed with powdered gold, silver, or platinum. Taking one step further, Curneen often comments on religious concerns such as symbolic references to Christ, biblical interpretations, concepts of soul, and questions of mortality.

Claire Curneen_Untitled 1 (Bird Figure) _2017_28.25x8.75x8in detail 2
Claire Curneen. Untitled 1 (Bird Figure), 2017. Ceramic, 28.25 x 8.75 x 8 inches.

Cathy Lewis, trained at the Glasgow School of Art, Falmouth School of Art and The University of the West of England, is most known for her beautifully modelled life-sized figures of children with strong urban or tribal identities. Her work is concerned with ideas about culture, social history and self, and she often combines several ideas into one piece each influencing each other and asking and answering questions. Lewis’ work examines the importance of a cultural heritage and how this may be learnt and shared. Encouraging her audience to examine links between the past and the future, her works call into question how the future is consistently propped up by the past.

JanKossen ContemporaryUnBreakable - Ceramics RedefinedJanuary 11, 2018
Cathy Lewis. Mainly Porcelain I (Left) and Mainly Porcelain II (Right), 2017. Ceramic, 47 x 14 x 6.5 inches.

Figurative abstraction is courted, yet ultimately tempered in the work of Keun Woo Lee. Traces of plants, flowers, and other elemental features of landscape remain visible in Lee’s creations. These forms, however, serve as a mere framework for the “nothingness” that holds the artist’s true interest. Lee has developed a keen sensitivity for the exploration of absence’s impact on depth, successfully immersing the viewer’s attention in the concave reductions of the final image. Keun Woo Lee was born in Korea and currently lives and works in Kiel, Germany.

Keun Woo Lee. Wave Series, 2015-2017. Glazed stoneware.

For questions or more information, please contact Karen Gilbert at Karen.gilbert@jankossen.com or at 631-903-5564.

YE JIN YOUNG “WAVES AND WINDS”

Ye Jin-Young, Wind. I feel a space of mind VIII, 2017. 78.7 x 47.2 in, Clay and mixed material.

Ye Jin-Young is inspired by the concept of a ‘life force’ or ‘energy flow’, otherwise known as Qi. He creates his works by way of intuition, tracing memory and his own stream of consciousness to develop delicate, swirling patterns reminiscent of those found in the natural environment. The gentle repetition conceives a sense of spirituality as Jin-Young conjures landscapes of petals that seem otherworldly and yet comforting.

Detail shot of Wind. I feel a space of mind VIII.

Jin-Young works to convey nature’s wondrous yet simple patterns in an equally delicate means by gently pulling and molding by hand, most often, virgin porcelain petal-like elements until they form a flowing piece of tapestry like wall art. Using the themes of wind, flower and water waves as focal point, he forces viewers to move with his works.

Bruno Walpoth “Insight”

BRUNO Walpoth, The Seeker (left) and The Timid One (right)

Bruno Walpoth is an Italian sculptor who’s wooden, cardboard, and bronze sculptures are caught in a moment — stagnant, while also exposed and carrying the impression of vulnerability. His sculptures are honest in appearance, silently asserting their presence and commanding the space around them. Though paralyzed, these forms continue to build on the meditative tone of the exhibition, immersing the observer in a sensitive encounter.

Bruno Walpoth “Insight” and Ye Jin Young “Waves and Winds”

Bruno Walpoth “Insight” and Ye Jin Young “Waves and Winds”

Bruno Walpoth is an Italian sculptor who’s wooden, cardboard, and bronze sculptures are caught in a moment — stagnant, while also exposed and carrying the impression of vulnerability. His sculptures are honest in appearance, silently asserting their presence and commanding the space around them. Though paralyzed, these forms continue to build on the meditative tone of the exhibition, immersing the observer in a sensitive encounter.

In contrast to Walpoth’s motionless works, Ye Jin-Young is inspired by the concept of a ‘life force’ or ‘energy flow’, otherwise known as Qi. He creates his works by way of intuition, tracing memory and his own stream of consciousness to develop delicate, swirling patterns reminiscent of those found in the natural environment. The gentle repetition conceives a sense of spirituality as Jin-Young conjures landscapes of petals that seem otherworldly and yet comforting.

Though working with different mediums, the two exhibiting artists share in creating, not only an intimately meditative experience for the viewer, but in their creative process as well. Walpoth’s works range in medium from clay to bronze, but he shows a fondness for working with wood. His use of carving tools to carefully perfect details on such a delicate medium provide his sculptures with the appearance of skin-like properties. Jin-Young works to convey nature’s wondrous yet simple patterns in an equally delicate means by gently pulling and molding by hand, most often, virgin porcelain petal-like elements until they form a flowing piece of tapestry like wall art. Using the themes of wind, flower and water waves as focal point, he forces viewers to move with his works.

2018 Art Fair During Art Basel Miami

Screen Shot 2018-04-17 at 5.08.55 PM

APPLICATIONS OPEN FOR ART FAIR DURING ART BASEL, MIAMI 2018

THE EXHIBITION WILL TAKE PLACE FROM DECEMBER 4-9, 2018

Now accepting applications 

Accepted artists are required to pay a USD 500.- confirmation deposit once their participation has been approved, which is deducted from their final invoice.

If you are interested, please fill the application form here
Read the guidelines here before applying:  ARTEPONTE Agreement SCOPE Miami 2018

For more information contact Estela at hello@arteponte.org

MAGIA DEL MOMENTO: Antonio Marra

JanKossen Contemporary is pleased to present MAGIA DEL MOMENTO, Antonio Marra’s premiere solo show at the gallery, on view from September 7th to October 14th, 2017.

Antonio Marra’s 3D paintings are simultaneously familiar and revolutionary. Although nostalgic of Frank Stella’s vibrantly coloured geometric works, Marra further enhances the experience of abstraction by injecting a shock of the unexpected.

Antonio Marra, Das Geheimniss der letzten Rille (left view, front view, and right view), 2016

59 x 59 x 1 inches

Using precise mathematical calculations, Marra introduces sculptural features that elevate his paintings. His masterful craftsmanship is evident in the thick, precisely painted grooves formed entirely by the artist’s own hand. Walking alongside the work allows the dynamic energy of the optical illusion to manifest. The observer has to move from one side of the painting to the other, otherwise they’re only seeing a fraction of Marra’s artistry.

The exhibition is a kaleidoscopic experience; Marra affects the audience’s perception of depth by manipulating colour, shape, and form. His works are provocative as they present a challenge, awakening curiosity and inspiring interaction. His lenticulars demonstrate conflict, briefly offering a moment of rigidity and certainty through distinct geometric patterns that are then disrupted, undergoing a metamorphosis that can only be initiated by the spectator.

Antonio Marra was born in Italy and has lived in Germany for many years. He has exhibited in Germany and throughout Europe since the early 1990s. Recently, his work has been shown in the United States. Marra’s works are on view in public collections including the Museum Explora Frankfurt, Frankfurt am Main, Germany and the Ritter Museum Stuttgart, Stuttgart, Germany.

FRESH! 3rd Annual Summer Show “GEOFORM”

New York, NY. JanKossen Contemporary is pleased to present FRESH! 3rd Annual Summer Show: GEOFORM, a group show in collaboration with Arte Ponte Cultural Institute, featuring works by 26 artists demonstrating their interpretations of geometric abstraction.

GEOFORM is a mixed-media show where visitors are invited to participate in uniquely constructed realities composed by a diverse group of international emerging artists. The exhibition highlights the potential of geometric forms; it is through the combination of pure shape and structure that reality is decoded and the audience is introduced to an intensely raw experience.

Exhibited artists include

Guang Zhu | Brooklyn, NY Patti Samper | Montclair, NJ Stacy Lovejoy | Portland, OR Larry Jones | Terre Haute, IN Ryota Matsumoto | Tokyo, Japan Danielle Feldhaker | Tel Aviv, Israel Sabre Esler | Atlanta, GA John Wilson | Manteo, NC Sean Mick | Jamaica Plain, MA Atsuko Okamoto | Boynton Beach, FL Jackie Tufford | Jupiter, FL George Goodridge | Miami Beach, FL Myoung Su (Sienna) Ko | Providence, RI Blair Martin Cahill | Ojai, CA Jon Merritt | Newburyport, MA April Hammock | Baton Rouge, LA Lisa Fromartz | New York, NY  Kyle Yip | Toronto, ON Monica Delgado | New York, NY Amy Chan | Henrico, VA Jane Lincoln | East Falmouth, MA Blaine Breaux | River Ridge, LA Russell Bellamy | Leesburg, FL Roberta Estes | Seneca Falls, NY Sharmen Liao | Los Angeles, CA Clark Rendall | Brooklyn, NY

Through the works of Danielle Feldhaker and April Hammock, visitors are introduced to the foundations of the genre; both artists reference the styles of Mondrian, Kandinsky, and other abstractionists, while bringing something uniquely theirs as demonstrated by individual varying combinations of form and colour.

Guang Zhu celebrates the beauty of non-objective form by taking a mathematical approach to his work. There is a sense of satisfaction from her organized process, a characteristic also shared by Patti Samper, who captures orderly delight through the simplicity and minimalism of her shapes. Similarly, Sabre Esler’s works are methodically calculated; her patterns are developed logically while also managing to establish a human connection.

There is an added complexity to the works of Larry Jones, Stacy Lovejoy, and Jackie Tufford, as their compositions are emotionally charged. From Jones’s tightly coiled sculptures, to the regal nostalgia of Tufford’s stained glass, to the celebration of childhood in Lovejoy’s works, each artist coerces a different, and yet equally powerful visceral response.

Although chaotic in nature, the works of Ryota Matsumoto, Blaine Breaux, Kyle Yip, and Sharmen Liao, are likewise commanding. The shapes in their works permeate the space, establishing relationships that are simultaneously tumultuous and harmonious. This dichotomy is further illustrated by Atsuko Okamoto and Myoung Su (Sienna) Ko, who find peace by injecting tension. They guide viewers through a balancing act of contrasting elements; from cool and warm tones to the dual experience of movement and stability.

Viewers are exposed to a delicate vulnerability in the works of Blair Martin Cahill, Lisa Fromartz, Monica Delgado, and Russell Bellamy. Each artist redefines perception and creates depth and meaning through layers. Meaning is derived from the relationship between each layer, and audiences are moved towards self-reflection as they consider the juxtaposition of seemingly contradictory elements.

That correspondence between visitor and artwork is further accentuated by George Goodridge, Jon Merritt, Amy Chan  and Jane Lincoln. The audience is present as they participate in an organic dialogue between space and work. The dimensionality of their works reach out and communicates with viewers, pressing for interaction and seeking to be given meaning.

Much like Rosecrans, John Wilson’s work holds architectural elements. Influenced by his background in architecture, Wilson’s art provides structure and shape without instruction; simply permitting the non-objective to exist.

The works of Sean Mick and Roberta Estes exhibit the spirit of geometric abstraction as expressed by Mick, who describes his work as ‘reductive visual language.’ Clark Rendall, whose works are inspired by bodies of water, also embodies this essence of deconstructing, allowing the audience freedom over meaning.

It is through the mastering the genre of geometric abstraction, that these artists create a pure concept that challenges perception and redefines reality.

The exhibition opens on Thursday, July 13th, 2017, and will remain on view through August 18th, 2017.