Back Chungbuk’s Future Lies Not in Seoul, but in the World: Exploring a “Global Strategy” in Cheongju A global vision connecting the local and the world was presented in Cheongju, Chungcheongbuk-do. The message was clear: Chungbuk should no longer remain in a “second-place strategy” following Seoul, but instead leap directly onto the global stage. On the 22nd, a roundtable discussion was held at the headquarters of Bonjeong (本情), a specialty chocolate company in Cheongju. Participants included New York–based attorney Jang Jun-hwan, CEO of Gallery Chang; internationally renowned artist Shane Guffogg; and Lee Jong-tae, CEO of Bonjeong. What made the roundtable especially notable was that three private-sector figures—a Korean-American lawyer, an American artist, and a Chungbuk-based entrepreneur—came together to propose a global vision linking the region to the world. The discussion was organized following a “Culture–Technology Convergence” special lecture held earlier that day at Chungbuk National University, and explored the potential of a Chungbuk-style global strategy where culture, art, and regional branding converge. This gathering was not a simple corporate event or networking session, but a symbolic forum addressing Chungbuk’s urban future and industrial direction. All participants emphasized in unison: “Chungbuk’s next step is not Seoul, but the world.” Choosing Cheongju as the venue carried particular significance. Chungbuk sits at a transportation crossroads linking the administrative capital Sejong with the greater metropolitan area, while also hosting clusters of advanced industries such as bio, secondary batteries, and semiconductors. At the same time, it boasts rich natural and cultural assets—such as Songnisan National Park and Cheongnamdae—making it a compelling “testbed where industry and culture coexist.” Against this backdrop, the roundtable demonstrated how Chungbuk could evolve into a global hub city. Jang Jun-hwan cautioned that Chungbuk must not limit itself to expanding infrastructure and transportation networks. “Many regional cities function only as places tourists briefly visit and leave,” he said. “But to truly revitalize the economy, you must create a structure that encourages people to stay an extra day.” He proposed the concept of a “city to stay.” A key condition for this, he argued, is a vibrant nighttime economy. “A city lives when the night is alive,” Jang said, calling for programs for young people, family-friendly evening cultural events, and night markets reflecting local identity. “Even if trains and roads connect a region, without content that makes people stay, the local economy won’t grow.” Addressing young people, he added, “Success doesn’t come from one giant leap. It’s built through small successes accumulating over time. Build those achievements here in Chungbuk, then connect that confidence to the global stage.” Shane Guffogg offered a fresh, outsider’s perspective on Chungbuk. “The landscape I saw on the way to Cheongju reminded me of suburban New England or the countryside near New York,” he said. “Chungbuk, where nature and city coexist, has real appeal as a global testbed.” He was particularly impressed by Korea’s café culture. “Korean cafés are not just places to rest. Each one feels like an artwork, with its own design and concept. Even highway rest stops are full of creativity. This kind of cultural sensibility is a unique competitive strength Korea has that you don’t find elsewhere.” Speaking about his own work, Guffogg explained, “My paintings layer multiple dimensions of time onto a single canvas. This resembles the concept of superposition in quantum computing. Art and science may seem like different languages, but at their core, they ask the same questions.” He added, “I hope small cultural experiments that begin in Chungbuk will spread beyond Asia to the world,” and expressed his intention to continue engaging with Korea in the future. Lee Jong-tae, CEO of Bonjeong, centered the discussion on “regional branding.” “Cultural movements often begin not in megacities, but in small towns,” he said. “Just as French Impressionism emerged from rural villages, Chungbuk can also generate global currents.” He emphasized that brands should serve as mediators of cultural exchange, not just products for sale. “Bonjeong has created a first case in which a Chungbuk brand entered a global cultural platform through collaboration with a New York gallery,” he said. “We will continue participating in international projects to grow Bonjeong into a global brand.” Lee added, “Population may decline, but cultural and economic value can grow. When local companies join hands with culture, they can create new engines of growth. Bonjeong will stand as a cultural partner until the day Chungbuk gains global recognition.” Participants agreed that Chungbuk should not be content with merely catching up to Seoul, but should pursue strategies that connect it directly to the world. With global competitiveness already evident in bio-health, secondary batteries, and semiconductors—and expanding international exchange through Cheongju Airport—the addition of culture, art, and regional branding could propel Chungbuk beyond an industrial city into a global culture-and-technology hub. One local attendee remarked, “Today’s discussion gave confidence that Chungbuk can connect to the world not only through industry and economics, but through cultural imagination.” Though each speaker approached the future from a different angle—Jang Jun-hwan emphasizing a “city to stay,” Shane Guffogg advocating the “globalization of cultural creativity,” and Lee Jong-tae calling for the “global elevation of regional brands”—their direction was the same. The message of this roundtable extends beyond Chungbuk. Cities such as Brooklyn, Lyon, and Fukuoka have similarly transformed from “regional cities” into “global cities” by combining industrial strength with culture, art, and branding. Chungbuk, the speakers suggested, now stands at a similar threshold. cc.newdaily.co.kr [특집] 충북의 미래는 ‘서울 아닌 세계’…청주 본정서 ‘글로벌 전략 모색’ “충북의 다음 스텝은 서울이 아니라 세계다.”충북 청주에서 지역과 세계를 잇는 글로벌 비전이 제시됐다. 충북이 더 이상 서울을 따라가는 ‘2등 전략’에 머무르지 않고 곧바로 세계와 연결되는 도시로 도약해야 한다는 제언이 이어진 것이다.지난 22일 청주 초콜릿 전문기업 본정(本情) 본사에서 열린 좌담회에는 미국 뉴욕주 변호사 장준환 갤러리 장(Gallery Chang) 대표, 세계적 작가 셰인 구포그(S... < >

< Back Fables of Solitude:
The Colorful Realm of Venessa Love Sep 23, 2019 Fables of Solitude: The Colorful Realm of Venessa Love Venessa Love Sep 23 - Oct 5, 2019 "Fables of Solitude: The Colorful Realm of Vanessa Love" invites viewers into a vibrant world where light and shadow coexist, offering a profound exploration of inner healing and emotional connection. Vanessa Love’s artwork creates a vivid tapestry of bright colors and simplified forms that transform solitude into a fantastical narrative. Inspired by fairy tales, her work vividly portrays characters and scenes that, while sometimes dark, are designed to heal and resonate deeply with the viewer. Art critic Hyun Jung Ahn describes Vanessa Love’s work as a canvas of emotional recovery, where the figures portrayed reflect the everyday people we encounter. Love’s intention is to convey a message of healing and return to love within a space enriched by understanding and compassion. In the midst of a world characterized by modern solitude, her art serves as a beacon of fantasy, converting feelings of isolation into stories of emotional warmth and connection. This exhibition showcases how Vanessa Love uses her art to bridge the gap between visual perception and emotional comprehension. By embodying the essence of 'emotional love' through fairy tale-like imagery, she creates accessible narratives that both enchant and challenge viewers. Her use of wit and satire adds layers of depth, offering a frank and relatable interpretation of contemporary society's contradictions. "Fables of Solitude" invites you to explore a fairy-tale reality where emotions are expressed with sincerity and charm, encouraging viewers to engage with their own inner landscapes through the artist’s imaginative lens.

South Korea Artist Biography Works Next Ahn Seongmin South Korea BIOGRAPHY Seongmin Ahn is a Korean-American artist celebrated for her innovative reinterpretations of minhwa , the traditional Korean folk painting style. Based in New York, Ahn bridges the boundaries between tradition and modernity, Eastern and Western art, creating works that are both deeply rooted in cultural heritage and profoundly contemporary in their execution. Ahn’s work blends traditional minhwa motifs, such as peonies, waterfalls, and mythical animals, with elements of Western culture and modern life. This dynamic juxtaposition breathes new life into traditional Korean art forms, presenting a fresh dialogue between past and present. Her unique ability to reimagine minhwa through a contemporary lens has established her as a significant figure in both Korean and international art. Her contributions were highlighted in the 2020 Asia Week New York exhibition MINHWA & minhwa: Korean Folk Paintings in Dialogue With the Contemporary , hosted by the Korean Cultural Center New York. This exhibition juxtaposed historical minhwa pieces from the 19th and early 20th centuries with Ahn’s innovative works, showcasing how the tradition has evolved into a modern art form. Her reinterpretations explore themes of cultural identity and transformation, often pairing traditional minhwa imagery with objects and ideas drawn from Western culture and modern daily life. Ahn’s educational background reflects her deep engagement with traditional and contemporary art. After earning her BFA and MFA in Oriental Painting from Seoul National University, she completed a second MFA at the Maryland Institute College of Art in the United States. Her dual training allows her to merge the technical precision of traditional Korean painting with the conceptual frameworks of contemporary art. She has exhibited extensively in both Korea and the United States, holding solo exhibitions at venues such as the Delaware Contemporary Art Center (Wilmington, Delaware), Queens College Art Center (Flushing, New York), and Stony Brook University’s Charles B. Wang Center (Stony Brook, New York). Ahn is also a recipient of prestigious awards, including the Jackson Pollock-Lee Krasner Foundation Grant and the Al Foundation’s Visual Arts Competition Grand Prize. In addition to her artistic practice, Ahn has been a dedicated educator, teaching traditional Korean painting and contemporary art at renowned institutions such as the Art Students League of New York, School of Visual Arts, Queens Museum, the Metropolitan Museum of Art, and Asia Society. Her work has also been featured in prominent media outlets, including The Washington Post . Through her vibrant and thought-provoking works, Seongmin Ahn continues to redefine minhwa for a global audience, celebrating its timeless beauty while exploring its relevance in the contemporary world. EDUCATION M.F.A. Multidisciplinary Art, Maryland Institute College of Art, Mount Royal Graduate School M.F.A. Asian Traditional Painting, Seoul National University B.F.A. Asian Traditional Painting, Seoul National University SOLO EXHIBITIONS 2024 Seongmin Ahn, La Caja Galeria, Tijuana, Mexico Extra Ordinary Animals, Hello Museum, Seoul Korea Extra Ordinary, B DAY cafe, Seoul, Korea Innerscape, Sanji Gallery, Seoul, Korea Itaewon Memoir, Atelier Kyma, Seoul, Korea 2023 Book, Flower and Water, Kangjin Minhwa Museum, Kangjin Its Inside Is Bigger Than Its Outside by Seongmin Ahn, Hudson River Museum, Yonkers, NY Enchanted Reality, Korea Society, New York, NY 2022 Delectable Landscape, Evercore headquarter presented by CUE Foundation, New York, NY 2021 Doongsil Doodoongsil (Float, Float), Coyu Cultural Space by Kwangjuyo, Icheon, Korea 2020 MINHWA & minhwa: Korean Folk Paintings in Dialogue with the Contemporary, Asiaweek Exhibition, Korean Cultural Center, New York 2019 Unreal Real Unreal, Gallery Stan, Seoul, Korea 2016 “Its inside is bigger than its outside”, Art Mora, NJ 2015 Interrelation, Art Mora, New York, NY Present Present, Asian Art Works, Pusan, Korea 2014 Lucious Peony, Wong Cultural Center Gallery, Stonybrook University, Long Island, NY 2013 Sweet sometimes, Hello Museum, Seoul Portrait of Peony, Gallery K, Seoul, Korea Reelative Perspectives, Curated by Hyewon Yi, sponsored by AHL foundation, BBCN bank, NY 2012 Neo-Peony, Gallery Ho, New York, NY Come and Play at my Minhwa Garden, Yegam Art Space, Flushing, NY 2011 Storytelling, Voelker Orth Museum, Flushing, NY 2009 White Square; perspective exercise, Local Project, Long Island City, NY 2006 Particles Are Also Waves, Delaware Center for the Contemporary Arts, Wilmington, DE 2005 Mono.logue, Queens College Art Center, Flushing, New York 2004 New York Report; Seongmin Ahn, White Wall Gallery, Seoul, Korea Weaving Pain, Kerrigan Campbell art + project, New York, NY 2003 Beyond, Project ’03, Carriage House, Islip Art Museum, Islip, NY 2001 Meditation, Gomez Gallery, Baltimore, MD Meditation; M.F.A. Thesis Exhibition, Fox Gallery, Maryland Institute College of Art, Baltimore, MD 1998 Floating, Gallery Boda, Seoul, Korea PUBLIC PROJECT 2022 AGAIN, window project, John Jay College of Criminal Justice, New York 2021 AGAIN, art on billboard with Save Art Spaces, multiple billboards located in New York metropolitan area AGAIN, a public installation at Charles Wang Culture Center, Stony Brook University, Long Island, NY AGAIN, installation at Dongduck Gallery, Seoul, Korea 2020 Harmonious Differences, Public mural, Flushing Queens, NY SELECTED GROUP EXHIBITIONS 2024 The Brooklyn Artists Exhibition, Brooklyn Museum, New York Order/Reorder, Sugar Hill Museum, New York Bisangjun_6, Korea Museum, Organized by Kangjin Minhwa Museum, Korea 2023 Blooming Resilience, Waterfall Mansion Gallery, New York, NY Bisangjun_5, Korea museum, Organized by Kangjin Minhwa Museum, Korea 2022 Renewal of Symbols, Gladys Marcus Library, Fashion Institute of Technology, New York, NY Praise of Life, Museum of Modern and Contemporary Art, Seoul Minhwa Story, Young World, Yeongwol County, Korea Bottari, Chungmu Art Center, Seoul, Korea Order/Reorder: Experiments with Collections, Hudson River Museum, Yonkers, NY 2021 Chaekgeori, de la beaute des Livres, Centre Culturel Coreen, Paris, France My Flower is Close and Estrange, Space C. Coreana Art & Culture Complex, Seoul 2020 Women to the Fore, Hudson River Museum, Yonkers, New York Asia Week New York 2020, Kang Collection, New York 2019 Grateful Fortitute; The Spirit of Korean Women, Jordan Schnitzer Museum of Art, University of Oregon, Eugene, Oregon New Wave 25, Insa Art Center, Seoul, Korea Asia Week New York 2019, Kang Collection, New York Checkgori Today, Dongduck Gallery, Seoul, Korea Winter Selection, Susan Eley Fine Art, New York 2018 Asia Week New York 2018, Kang Collection, New York Potatoism:A Global History of Potato Art, Wang Center, Stonybrook University, Long Island, NY Postmodernism and Aesthetics, Collide and Steer, Korean Cultural Center, AHL foundation, NY 2017 Korean Art: Now and Then, Kang Contemporary, New York Asia Week New York 2017, Kang Collection, New York 2016 Power and Pleasure of Possessions in Korean Painted Screens, Wang Center, Stonybrook University, NY Moonbanggu(stationery), Hello Museum, Seoul Korea 2015 Art Discovery, Chumgmoo Art Hall organized by Hello Museum, Seoul Korea Korea Now, Susan Eley Fine Art, New York, NY 2014 Garden, National Museum of Modern and Contemporary Art, Seoul, Korea The lineage of Vision: Progress through Persistence, Gallery Korea, New York Sensory Permeation, Asian Art Works, Beijing, China Reinterpretation of Flower: Two Person Show, Samtoe Gallery, Seoul, Korea Affordable Art Fair, with Art Flow, New York, NY Art Show Busan, represented by gallery Ho, Busan, Shades of Time: An Exhibition from the Archive of Korean American Artist, Korean Cultural Service 2013 Asia Hotel Art Fair, Seoul, with EN Art, Conrad Hotel, Seoul, Korea Affordable Art Fair, with Art Flow, New York, NY Imago Mundi, Venice Bienal Program, Foundazione Querini Stampalia, Venice, Italy Art Discovery, Organized by Hello Museum, Shinsegye department store evernthall, Seoul, Korea Community Art Project, Yegam Art, Flushing, NY Minhwa Story, Om’s gallery at Bank Asiana, Flushing, NY Dreamer’s Juxtaposition, Gallery JS Sun at BBCN bank, NY and NJ Take old road new way, Galley Korea, New York, NY 25/75 Silver+diamond Jubilee, Queens College Art Center, Flushing, NY HyungSekJiGyo (connections between forms and colors), Gallery K, Seoul, Korea 2012 Mook Chi Pa, Hello Museum, Seoul, Korea HoHoHo, Gallery Ho, New York, NY Art Market, Yegam Art Space, Flushing, NY Operating System, Curated by Heng-Gil Han, Gallery Ho, New York Sense or Nonsense, Bennett gallery, Englewood, NJ 07631 Hanji Project: Hanji Metamorphses, artistic director Yu-Yeon Kim, Various location in Chelsea, New York, NY Haiti charity auction by Seoul Auction, Seoul, Korea Line by Ten Artists, Riverside Gallery, Hackensack NJ 10Women artists, Gallery Chon, Flushing, NY 2011 Reinterpretation: Seongmin Ahn and Minjoo Kim, Gallery Cha, Seoul, Korea Diary Painting and Reading Painting, Hello Museum, Seoul, Korea New Reason, Howard county Education Hall, Baltimore, MD Art Market, Yegam Art Space, Flushing, NY 2010 Employee Show, Metropolitan Museum of Art, New York, NY MICA in New York, Spattered Columns, New York, NY 2009 Invitation show, KORUS House, Ambassy of Korea, Washington DC 2008 Alumni Show: Seoul National University, NahRah Gallery, Fort Lee, NJ 50 Edition Project, Local Project, Long Island City, NY 2006 In Light, Gallery Aferro, Newark, NJ 2005 Repeating Spaces, Art Gallery, Montclair State University, Montclair, NJ No End But Addition, Vox Populi, Philadelphia, PA 2004 Re.Occurrence, Taste of Art, New York, NY Scene/Unscene, 473 Broadway Gallery, New York, NY ArtLink @ Sotheby’s International Young Art, (traveling show) Tel Aviv, Amsterdam, Moscow No End, But Addition, Pierro Gallery, South Orange County, NJ Meditation in New York, 473 Broadway Gallery, New York, NY Abstraction Identity, Pelham Art Center, Pelham, NJ Juried show, Gallery Korea, Korean Cultural Service, Embassy of the Republic of Korea, Washington D.C. In the Face of others; NURTUREart at LMCC, Lower Manhattan Cultural Council, New York, NY 2003 Seasonal Litter, Broadway Gallery Annex, New York, NY No End, But Addition, Spaces Gallery, Cleveland, Ohio Flicker, Transplant Gallery, New York, NY Seongmin Ahn and Haejung Oh, Washington Arts Center, Arlington, VA Space and Surface Painting, Gallery Korea, New York. NY Shaping Wholeness, Elmhurst Hospital Center, organized by Asian American Arts Center, Elmhurst, NY Works on Paper, Annual Juried Show, Perkins Center for the Arts, Moorestown, NJ. Nurturing the New, NURTUREart, New York, NY Curators’ showcase, in showcase of Margaret Bodell, Viewing Room, New York, NY 2002 Contrary Equilibriums: 12th Annual Exhibition, The Asian American Arts Center, New York, NY eMotion Picture, United Nations, New York, NY 2001 Academy 2001, Corner Contemporary Gallery, Washington D.C. Masters Juried Show, Fox Gallery, Maryland Institute, College of Art, Baltimore, MD eMotion Picture, (traveling show) San Francisco, CA, Washington, D.C., Chicago, IL x<16 x 13, Fox Hall, Baltimore, MD 2000 About Drawing, The Park School Gallery, Baltimore, MD 1997 Grand Art Show by Joong-Ang Daily News, Hoam Art Hall, Seoul, Korea Show of Grand Art Competition by Art World, Kyung-In Gallery, Seoul, Korea Exhibition of Grand Art Competition, Grand Art Hall, Moon-Hwa Broadcast Company, Seoul, Korea 20th Anniversary Show, Sun-Hwa Art School, Seoul, Korea M.F.A. Thesis Show, Museum of Seoul National University, Seoul, Korea Po-Il Exhibition, Cultural Center of S.N.U., Seoul, Korea Exchange Show, Seoul National University & Tokyo University, Seoul, Korea 1995 New Form and Spirit, Do-Ol Gallery, Seoul, Korea Exchange Show, Seoul University & Tokyo University, Tokyo, Japan TEACHING EXPERIENCE 2019-present Queens College, New York Adjunct Faculty Painting, and Drawing classes 2018 Maryland institute College of Art, Baltimore, MD Adjunct Faculty, Drawing: Tradition and Innovation 2019 Teaching Artist in Residency, Hudson River Museum, Yonkers, NY Develop family workshops and train junior docents • Lunar New Year family workshop: Korean mask making, lucky pouch paper folding with Paint and Decoration • Moon and Negative Space • Moon on Hemisphere • Sumi Ink Magnet Develop and lead adult workshops • Moon and Negative Space • Asian Color Painting: Focus on Flowers • Moon Color Led 10 workshop from kindergarten to 4th grade at MS25 in Yonkers 2013-2019 Art Students League, New York, NY Instructor for Studio 6 Workshop: Asian Ink Painting Intensive workshop for one week: Taught Sumi ink painting materials and techniques to expand visual languages and find contemporary aspect of Sumi ink painting 2008-2019 Queens Museum, Flushing, Queens, NY Teaching Artist for Art and Literacy for New New Yorkers Created and developed classes related to Korean traditional painting • Ink Painting and Mixed Media on Wood Panel: Taught ink painting technique incorporating with watercolor and wood carving on wood panel for cross-media practices • Ink Painting Meets Printmaking: combining Ink Painting and printmaking technique to created cross-disciplinary creation • Poetic Korean Action Painting: using dripping, splashing, pouring and crumpling rice paper on floor to create large scale drawing adopting art making process of Jackson Pollock • Traditional Korean Bookmaking: creating artist book using students’ own drawing and Korean traditional bookbinding technique • Minhwa : Korean Folk Painting: Taught to draw Korean folk painting and apply the vocabularies to create students’ own contemporary Minhwa painting • Comtemporary Meaning in Sumi-ink Painting: Emphasized inherent abstract quality in Ink Painting to make connection to contemporary art in learning Ink Painting 2014/ 2021 School of Visual Art, New York, NY Instructor for an Ink Painting Workshop, Summer International Program 2008-2011 Creative Center for Women with Cancer, New York, NY Educator Created and developed Ink Painting classes for cancer survivors as a healing and meditation tool • Asian Ink Painting ; Four Gentlemen Drawing: introduced basic material and technique of Ink Painting emphasizing inherent meditative quality of it • Asian Ink Painting: focused on still life • Workshop for Resident Artists: Asian Ink Painting: one day workshop for artists who led art classes for patients at the hospital in New York City to give them more tools to utilize 2008-2015 Korean Cultural Service, New York, NY Educator Created and developed classes to teach and promote Korean culture through art activity • Korean Traditional Painting: 8 week classes of ink painting and color painting • Minhwa ; Korean Folk Painting: 8 week classes of traditional color painting focused on Korean folk painting from 18-19 century • Experience Korea: one day workshops for New York public school students to introduce unique Korean culture and living philosophy • Summer Camp for young children: One week workshop for K-5 grades kids to give them gasp of Korean culture 2011, 2015 Korea Society, New York, NY Educator • Minhwa: Korean Folk Painting Workshop: 4 week workshop for none Korean people 2010 AHL Foundation, New York, NY Educator • Minhwa, Korean Folk Painting: 2008-2009 Metropolitan Museum of Art, New York, NY Educator for Community and Workplace program • Learning Traditions-Asian Ink Painting 2009/11 Fairleigh Dickinson University, Teaneck, NJ Guest artist • Ink painting workshop for a drawing class of Prof. Sunhee Yoon 2008 University Settlement, New York, NY Educator • Asian Ink Painting : focused on Four Gentlemen Drawing 1997-98 Daegu Art University, Daegu, Korea Adjunct Professor • Korean Art History • Ink Painting 101 WORKSHOPS 2024 Washington University in St. Louis, Minhwa workshops for students in East Asian studies. 2023 Princeton University, Minhwa workshops for students in East Asian studies. 2022 Princeton University, Minhwa workshops for students in East Asian studies. ARTIST TALK/PRESENTATION 2024 Jordan Schnitzel Museum of Art, University of Oregon, Eugene, ORTSOM, the School of Minhwa, Korea 2023 Hudson River Museum, conversation with John Yau, an art historian, critique and poet, Yonkers, NY Korea Society, conversation with Eleanor Hyun, a curator at the Metropolitan Museum of Art, New York, NY, York University, Toronto, Canada 2021 Korean Cultural Society of Boston, virtual artist talk moderated by Prof. Sunglim Kim 2020 Hudson River Museum, virtual artist-talk with Masha Turchinsky, director of the HRM 2019 Hudson River Museum, professional development for public school teacher, Yonkers, NY AHL Forum, SFA Projects, New York, NY Gallery Stan, Seoul, Korea Hudson River Museum, Docents meeting, Yonkers, NY 2016 Fashion Institute of Technology, Beyond Boundaries Diverse Techniques by Formidable Artists, Diverse Council, New York 2014 Project AA, Seoul, Korea lecturer for lecture series, ‘Law of Art’ 2012 Fashion Institute of Technology, New York, NY presented art works at the Asian Art History taught by Kyunghee Pyun 2010 Queens Library in Flushing, Lecture seriese, Flushing, NY presented art works and led the discussion about Asian Art 2007 Parsons the New School for Design, New York, NY guest Artist for Korean Contemporary Art Class taught by Thalia Vrachopoulos 2005 Queens College Art Center, Flushing, New York 2003 Pierro Gallery of South Orange, NJ Washington Arts Center, Arlington, VA Asian American Art Center at Korea Society, Panel Discussion, New York, NY GRANTS AND AWARDS 2022 Artist Empowerment Award, $5,000 cash award and a solo show at Evercore, CUE Foundation in partnership with Evercore, New York, NY 2021 Queens Council on the Arts, $3000 grant for a new project 2020 Café Royal Foundation, $10,000 grant for community mural project Asian American Federation, $11,000 project grant for community mural in Asian American Community 2014 Pollock-Krasner Grant, $20,000 grant to assist creating artwork, Pollock-Krasner Foundation, New York, NY 2013 AHL Foundation Competition, First Prize, $3000 cash award and a group show in new york city and active promotion by the foundation, New York, NY 2003 Pollock-Krasner Grant, $15,000 grant to assist creating artwork, Pollock-Krasner Foundation, New York, NY Carriage House Space Award, Islip Art Museum, Islip, NY Juror’s Award for Artistic Excellence, Perkins Center for the Art, Moorestown, NJ 1997 Selected, Grand Art Competition by Joong-Ang Daily News, Seoul, Korea Specially Selected, Grand Art Competition by Art World, Seoul, Korea Specially Selected, Grand Art Competition by Moon-Hwa Broadcast Company, Seoul, Korea PUBLICATION 2024 Kyunghee Pyun, mentioned in “Historical Narratives of Political Activism by Asian/Pacific/American Artists, 1850-2020” (chapter 1), Political Engagement of Asian/Pacific/American Artists in the Post Pandemic Era edited by Kyunghee Pyun, Wilmington: Vernon Press, forthcoming in 2024. Soojung Hyun, "A prescription for society in Seongmin Ahn’s BEGIN AGAIN project," Political Engagement of Asian/Pacific/American Artists in the Post Pandemic Era edited by Kyunghee Pyun, Wilmington: Vernon Press, forthcoming in 2024). 2023 Richard Vine, “A Return to Wonder”, catalogue essay published for solo exhibition “Enchanted Reality”, The Korea Society publication, January 19-April 14 Seulki Oh, “Book, Flowers and Water”, catalogue essay published for solo exhibition “Book, Flowers and Water”, Kang jin Mimnhwa Museum, June 1-Augugst. 30 2022 Kyunghee Pyun, mentioned in “American Art as Cultural Hegemony: 1945–1989” (chapter 1) in American Art in Asia: Artistic Praxis and Theoretical Divergence edited by Michelle Lim and Kyunghee Pyun, New York: Routledge, 2022, p.01–16. 2020 Kyunghee Pyun, ‘Minhwa in the Context of Contemporary Art: Depicting Desire for A Better Life’, catalogue essay for the exhibition, The Scenery of Bookshelves, Horim Museum, Seoul, Korea 2019 Shinyoun Wang, mentioned in “Prayer for Life: Korean Polychrome Painting”, the catalogue essay for exhibition “Prayers for Life” published by National Museum of Modern and Contemporary Art, Gwacheon, Korea, chapter 5, P.12, 21. 2014 Andrew Weinstein, “Reading Women into the Story”, The Lineage of Vision: Progress through Persistence, edited by Kyunghee Pyun, catalogue essay for the special exhibition at Gallery Korea, Korean Cultural Service of New York, October 29–December 17, 2014, New York: Korean Cultural Service, 2014, 62p. Shinyoun Wang, mentioned in “Do You Have a Garden? You Have Such a Garden”, catalogue essay for exhibition “Garden”, National Museum of Modern and Contemporary Art, Seoul, Korea, p. 18, 24. Hee Sung Cho, mentioned in “Shades of Time: An Exhibition from the Archive of Korean American Artists, Part Two 1989– 2001”, edited by Kyunghee Pyun, catalogue essay for the special exhibition held at Queens Museum of Art: Partnership Gallery in June–July 2014 and Korean Cultural Service of New York, 9 April–23 May 2014, (New York: AHL Foundation) 2013 Alise Tifentale, “Take Old Road New Way”, mentioned in catalogue essay published for Call for Artists 2013, February 20-March 29, p.08, 10. 2002 Tricia Paik, 12th Annual Exhibition essay catalog, the Asian American Arts Center and the Korea Society, published by the Asian American Arts SELECTED BIBLIOGRAPHY 2023 Jihye Moon, “Hwa by Sunyoung Moon and Book, Flower and Water by Seongmin Ahn”, Art Minhwa magazine, August Jihye Moon, “Seongmin Ahn invited to the Hudson River Museum”, Art Minhwa magazine, June Hosted by Philippe de Montebello, exhibition “Its Inside Is Bigger Than Its Outside” at the Hudson River Museum was introduced in NYC-ARTS, The Complete Guide, May 18 Jonathan Goodman, “Seongmin Ahn at the Korea Society”, Whitehot Magazine, March John Yau, ‘Traditional Korean Painting for Modern Times’, Hyperallergic, February 1 Soojung Hyun, “Two Ways to Suggest Space Within: Window and Frame”, Kwangju Art Guide, 2023.4. vol.161 Editorial team, Review & Preview: “Seongmin Ahn at Korea Society”, Art Minhwa magazine, April 2021 ”Three Billboards by Seongmin Ahn, a Minhwa Artist”, Korea Times, 2021-10-27 2020 Ji-hye Moon, ‘Folk Painting of the 21st Century’, Koreana, Winter 2020 Vol. 34. No. 4, 2020 Carlotta Mohamed, Bayside Times, Oct-16-22, 2020, New York, NY Soojung Hyun, “Seongmin Ahn’s Minhwa: A Door That Opens For a Future”, Kwangju Art Guide, 2020.5. vol.126 2019 Miran Kang, Art Minbhwa, May, Seoul, Korea Editorial team, “World of Minhwa, Its Inside Is Bigger That Its Outside (exhibition review)”, Art Minhwa, April Editorial team, “Beauty of Tradition, Shown National and International”, (review), Art Minhwa, Sep. 20 2018 Anne Ewbank, The Art Show That’s All Potatoes, Atlas Obscura, April 02 2017 Editorial team, “Beyond the Physical and Spiritual Boundary”, Art Minhwa, Sep. 2017 2016. Miji Park, ‘Romantic New Yorker: Draw Minhwa”, Art Minhwa, Sep. 2016 2015 Daniel Gauss, “Peonies, Sweets and Spiritual Awakening”, Wall Street International, October 05, New York, NY “New York Bsed Artist Seongmin Ahn at Busan”, JoongAng Daily, 08.09.2015, Busan, Korea 2013 Ahreum Kim, “Portrait of Flowers”, ELLE Korea, August 2011 Jongwon Park, “Artist Seongmin Ahn; Korean Artist in New York Series 127”, Korea Daily, May 16, New York, NY Baeckgyun Kim, “Ahn, Seongmin and Kim, Minjoo”, Seoul Art Guide, Vol.116, August, Korea Hyein Kim, “I am planting a seed on my canvas today”, Mom and Enfant, October, Korea 2010 Jiin Han, “Seongmin Ahn who draws a cupcake on rice paper”, Mom and I, Vol. 120, September 2006 Victoria Donohoe, “Art from Differing Points of View”, The Philadelphia Inquirer, August 6 2005 Phyllis Cohen Stevens, “Korean Atist Seongminm Ahn Explores Asian Rituals Through Mono.logue” CUNY Newswire, October 31 Irene Coughlin, “Buddhist-Inspired Korean Art”, Queens World, December 12, 2005, NY Jinhye Kim, Korea Tims, December 2005 2004 Lori Oritz, “Quite Space in a Busy City”, NY ARTS magazine “The Pelham Art Center Present Abstract Identity”, The Bronxville Bulletin, March Mary Lou Cohalan, Projects’03 (catalog), Carriage House, the Islip Art Museum, Long Island, 2004 “Artist Transforms Pain into Creative Impetus”, Antiques and The Arts Weekly, February 13, 2004 2003 Dan Tranberg, “Exploring the Natural World”, The Plain Dealer, Cleveland, Ohio Jinhye Kim, “Beyond the Boundary”, The Korea Times, June 25, 2003 Eunsook Im, “6 Korean Artists”, The Korean Central Daily, June 21, 2003 2001 Jessica Dawson, “That’s On, and Off, the Wall”, Washington Post, August 16 Glen McNatt, “Religious Influence in Artist’s Paintings”, The Sun, August 9 Mike Giuliano, “Contemplative Paintings …at the Gomez Gallery”, City Paper, Baltimore, Aug 8-15 “Korean Artist, Ahn’s Show” The Korea Times, Washington D.C. August Mentioned in ABC 7 News, Chicago, 2001 1998 Intae Jang, Art World, Seoul, Korea, March Unmong Park, Art Education, Mar, Seoul, Korea The Korea Times, Seoul, Korea DongA Ilbo; Daily News, Seoul, Korea Kuk-Min Ilbo; Daily News, Seoul Korea PUBLICATION AS AN AUTHOR 2015 Inner-sight of New York, 뉴욕의 속살, an essay book about art and culture in New York, published by MaeumSanchek, Korea 2009 – 2011 Columnist on Korean Daily, New York Wrote bi-weekly about New York art scene focused on art organization, activity, and artists. ARTIST RESIDENCIES 2019 Teaching Artist in Residency, Hudson Art Museum, Yonkers, NY 2003 Vermont Studio Center, Johnson, Vermont PUBLIC COLLECTIONS Art Bank, Museum of Modern and Contemporary Art, Korea Government Art Bank, Museum of Modern and Contemporary Art, Korea Hello Museum, Seoul, Korea Hudson River Museum, Yonkers, NY, USA Johns Hopkins Hospital, Baltimore, MD, USA Jordan Schnitzel Museum of Art, University of Oregon, Oregon, USA Korean Minhwa Museum, Kangjin, Korea KD Chem, Korea Princeton University Art Museum, New Jersey, USA Space C, Coreana Cosmetics Museum, Seoul, Korea WORKS Load More

Jun 20 - Jul 22, 2025 Intro Catalog Installation Views Next [C1] New York Beautiful Rupture Jun 20 - Jul 22, 2025 Bret Price / Kelly Berg / Mark Acetelli / Moon Insoo / Kimi Kim Wittling INTRO "Beauty is not found in perfection, but in the moment it begins to break." Beautiful Rupture is a group exhibition that explores the tension and harmony born at the threshold between beauty and destruction, form and disintegration, nature and artifice. Through distinct materials and visual vocabularies, artists Kelly Berg, Mark Acetelli, Moon Insoo, and Kimi Kim reveal the quiet violence and fragile truths that lie beneath the surface of the beautiful. Kelly Berg evokes the power of shifting earth and volcanic eruptions — her paintings are charged with deep reds and fissured textures that speak to the sublime, overwhelming presence of nature. Mark Acetelli captures the serenity of the ocean, not as a passive subject, but as a contemplative surface teeming with silent depth and unspoken force. Moon Insoo sculpts with concrete, using an industrial material to channel memory, erosion, and the scars of time embedded in urban life. Kimi Kim deconstructs the iconic Chanel bag in ceramic, transforming a symbol of luxury into fragile artifacts that question desire, illusion, and the commodification of beauty. This exhibition does not portray rupture as an end, but as a beginning — a site of potential. Each artist invites us to consider how beauty is reshaped through breakage, tension, and transformation. A rupture is both collapse and emergence, fragility and power. In Beautiful Rupture, we encounter that delicate moment when beauty trembles, fractures, and redefines itself. CATALOG View Catalog here INSTALLATION VIEWS

United States, 1969 Artist Biography Works Next Steven Seinberg United States, 1969 BIOGRAPHY Steven Seinberg was born in Brooklyn, New York, and later attended college in Atlanta, Georgia. His palette, bold gestural strokes, and poetic line work connect the external world to a sense of continuous motion, where change is constant and loss is inevitable. Seinberg draws ongoing inspiration from biological perception, environmental conditions, and the emotional responses they evoke. His paintings communicate in a quiet yet evocative manner—subtle, instinctive, and deeply intuitive. Guided by moment-to-moment intuition throughout the creative process, the elements within his work emerge and recede almost imperceptibly, dissolving into the painted surface as the composition unfolds. Through this process, Seinberg poetically conveys the powerful, often primordial forces that govern the rhythms of the organic universe. His works translate these forces into atmospheric images that resonate beyond the visual, nurturing the mind, heart, and soul. WORKS Load More

Back World-Renowned Artist Shane Guffogg Holds His First Solo Exhibition in Korea Gallery Chang Seoul presents “Where Past and Future are Gathered” The first solo exhibition in Korea by internationally acclaimed contemporary artist Shane Guffogg (USA) is currently on view from April 10 to May 24 at Gallery Chang Seoul, located in the B2 Arcade of the Oakwood Premier Hotel in Samseong-dong, Gangnam-gu. Under the theme “Where Past and Future are Gathered,” the exhibition presents a selection of Guffogg’s representative works, which have traveled to Seoul following major exhibitions across Europe and the United States, including the Venice Biennale. The art world has praised the works in this exhibition for their highly distilled philosophical sensibility and artistic expression, encompassing themes of time, existence, and perception. www.medworld.co.kr 세계적인 작가 ‘셰인 구포그’의 국내 첫 개인전 현대 미술계에서 국제적으로 주목을 받고 있는 셰인 구포그(Shane Guffogg, 미국) 작가의 국내 첫 개인전이 4월 10일〜5월 24일까지 (강남구 삼성동 오크우드 프리미어 호텔 B2 아케이드) 에서 열리고 있다.이번 전시에서는 “Where Past and Future are Gathered"를 주제로, 베니스 비엔날레를 포함한 유럽·미국 주요전시를 거쳐 서울에 도착한 작가의 대표작들을 선보이고 있다.미술계는 그의 이번 작품들에 대해 시간, 존재, 감각을 아우르는 철학적 정서와 예술적 표현이 잘 < >

Back CHASE Project: Phase Shift Shin Kiwoun / Kim Hongbin / Anon / Anikoon / Im Jibin / Koo Nahyun Gallery Chang New York presents the group exhibition CHASE Project: Phase Shift from July 25 to August 5. This exhibition originated as a project at the multidisciplinary cultural space “The Bank” in Middletown, Upstate New York, and the Manhattan presentation is an expanded version that continues its experimental spirit. The title Phase Shift refers not only to changes in the function of physical space, but also to moments when emotions, senses, and modes of existence are transformed through art. Participating artists are Shin Kiwoun, Kim Hongbin, Anon, Im Jibin, Anikoon, and Koo Nahyun. Shin Kiwoun documents the interior of the exhibition building through time-lapse video, visualizing the boundary between memory and existence as the space slowly disappears. The gently flowing scenes in his videos capture moments when physical reality begins to dissolve, transforming architecture into a psychological landscape. Anon creates textile collages by cutting and sewing dyed fabric, producing layers of repetition, accumulation, and sensation. The hand-assembled fabric forms appear as if traces of emotion have settled into structure, giving the works a quiet rhythmic quality. Kim Hongbin adds sculptural density to painting by crumpling and tearing acrylic paint. The layered masses of paint and contrasting colors blur the boundary between painting and object, creating a tense rhythm across the entire surface. Focusing on the physicality and sensorial qualities of materials, his work moves fluidly between sculptural form and painterly expression. Anikoon evokes imagination and play through robot-like objects that have lost their original function, playfully expressing the unfamiliarity of change. Im Jibin fills ruin-like spaces with large inflatable sculptures, adding a light and open sensibility to closed structures. Koo Nahyun quietly conveys the message that emotions and relationships remain even in moments of transformation, through scenes of people and animals drawn directly onto the walls. Curator Jinnie Kang stated, “This project is not simply about placing new works in an old building. A space that was once closed has begun to speak again through art. That process itself is part of the exhibition.” She added, “It was also an interesting journey to see how this experiment, which began in Middletown, responds differently within the city of Manhattan.” At the opening reception on July 25, artists Shin Kiwoun, Kim Hongbin, and Anon attended and held an artist talk with visitors. https://www.nyculturebeat.com/index.php?mid=Lounge2&page=8&document_srl=4159646 < >

SEP 2 - OCT 10, 2025 Intro Catalog Installation Views Next [C4] Seoul Memories of Our Future SEP 2 - OCT 10, 2025 Shane Guffogg INTRO 셰인 구포그: 기억 속의 미래 2025년 9월, 서울 갤러리 장에서 셰인 구포그의 신작 연작 Memories of Our Future가 전시된다. 캘리포니아 스트라스모어 목장에서 제작된 이 작품들은 빛, 시간, 지각에 대한 평생의 탐구를 확장하며 “우리는 시간을 어떻게 보는가?”라는 질문을 던진다. 작업은 사전 스케치 없이 잠재의식에 따라 즉흥적으로 진행되며, 수개월간의 중첩적 결정으로 완성된다. 이 과정은 회화를 시간 속 의식의 기록으로 보는 그의 철학을 반영한다. 구포그의 회화는 교리보다 체험을 중시하며, 친밀하면서도 광대한 감각의 문턱으로 관람자를 초대한다. 이번 전시는 그의 경력에서 중요한 전환점으로, 아름다움과 복잡함의 공존, 보이지 않는 것의 가시화, 기억이 미래로 향하는 안내자일 수 있음을 시각화한다. 시간은 그의 캔버스에서 선형이 아닌 층위로 펼쳐지며, 현재와 과거, 미래가 긴밀히 연결되어 있음을 상기시킨다. “기억 속의 미래”는 오는 9월 서울 갤러리 장에서 열리는 셰인 구포그의 신작 개인전이다. 그의 국제적 행보가 언제나 되돌아오는 지점—시간, 지각, 그리고 의식을 형성하는 보이지 않는 힘—을 다시 묻는다. 포그는 제임스 웹 우주망원경의 이미지에서 영감을 받아, 시간을 분절하고 겹겹이 쌓아 올린 유약층을 통해 과거·현재·미래가 동시에 진동하는 포털을 만들어낸다. 그는 말했다. “과거를 들여다보아야 지금을 인식할 수 있고, 그래야 미래를 이해할 수 있습니다.” 웹 망원경이 보여주는 별의 탄생과 소멸은 그의 사고를 바꾸었다. “시간은 선형이 아니다. 우리가 보는 과거가 바로 현재다.” 그의 붓질은 기억과 가능성을 동시에 담으며, 마치 굴절된 빛의 파동처럼 흐른다. 또한 그의 공감각은 색채를 음악으로 번역해, 화면 위 흔적들이 시각과 청각의 공명을 함께 불러낸다. 나는 그의 작품 앞에 앉으면 빛의 동굴에 들어가는 듯하다. 인공이 아닌 원초적 만화경 속에서 그림자는 장막으로, 장막은 투명함으로 흩어지며, 모든 것은 끊임없이 유동한다. 거포그는 말한다. “관람자는 여러 순간의 시각을 동시에 목격하게 됩니다. 그것은 관점이 아니라 시간을 초월한 현존입니다.” 결국 “기억은 우리의 미래”는 향수도 예언도 아니다. 그것은 차원이 교차하는 현재의 순간을 살라는 초대이며, 기억과 미래가 하나로 접혀 있음을 보여준다. 그의 회화는 이렇게 말한다: 우리는 기억이자 미래이며, 지금 이 빛나는 순간 속에 접힌 존재다. CATALOG View Catalog here INSTALLATION VIEWS

Back February 19, 2026 Opening Reception: Alison Van Pelt The Opening Reception of Alison Van Pelt’s 40 Years Painting Portraits at Gallery Chang was a resounding success, as a large crowd gathered to celebrate, with champagne flowing throughout the evening. On display are a total of 28 pieces, which range in size and content but are primarily large portraits. Those featured in the works include artists like Louise Bourgeois, Gwen Stefani and Samuel Beckett–and many also include statements such as, “I’d Be God’s Gift,” or “I’d Have My Way With Words.” Van Pelt does indeed have a way with words, her California raised calm and charm were much appreciated by gallery visitors who had the opportunity to ask her questions about her pieces directly. She was happy to discuss her process, background and other details at length over GoGoJang dubai chocolate cookies. Gallery goers gained more insight about how her paintings can take up to two three days with minimal breaks and no sleep, particularly the larger 5’ x 4’ works. People were surprised to learn that every detail of her artworks are hand-painted, many believing that she had utilized photographs for the portraits due to their expert detailing. Those in attendance included Alison’s close family and friends, many of whom traveled from California to see the show. Also present were New York gallery scenesters, Gallery Chang regulars, and walk-ins from the neighborhood. It was a Thursday evening from 6-8pm, so many walk-ins were on their way to dinner or a show (or both) with traffic peaking at 7pm. Throughout the night the flow of people was steady, and people took care to view each of the works. The images draw the viewer in, they evoke a sense of dissolve. Of her process, Van Pelt has been quoted by culture writer Robert A Sobieszek as stating, “Every painting begins as a fact…The act of blurring deconstructs the fact and reveals an ideology–my own perception, my own uncertainty.” The event took place at our Midtown Manhattan location, and marked the first solo exhibition in New York for Van Pelt. It was not the artist’s first time showing with us. Her work has also appeared at both our Seoul and Englewood locations, in last year’s exhibition The Unified Field . New works are included in this latest update to her publicly available oeuvre, including the 2026 pieces “Dylan,” “Bruce Springsteen,” and “Spotted Jack Rabbit w/ Crow Nation Turquoise.” The latter piece is of a native american warrior Chief who was photographed in 1898 by F.A. Rinehart. His image is the most repeated in the portraiture series of this exhibition, spanning back to 2005, with Van Pelt returning to tracing his face for over twenty years. The exhibition does not solely include portraits. There are also flowers, a hummingbird, a lion and a skull, smaller works that may be more accessible to beginner collectors or someone looking for the perfect accent to a small space. These pieces, like the rest in the show, feature Van Pelt’s signature blurring style. Previous Next

Jan 1 - 31, 2026 Intro Catalog Installation Views Next [Vault] Hanam Korea At the Still Point of the Turning World Jan 1 - 31, 2026 Shane Guffogg INTRO Gallery Chang – Vault presents a curated selection of 21 works by Shane Guffogg from his 2024 Venice Biennale exhibition, At the Still Point of the Turning World . Originally presented in Venice, these works marked a pivotal moment in Guffogg’s practice, where decades of sustained inquiry into perception, time, and consciousness converged in a body of paintings defined by quiet intensity and profound spatial awareness. At the heart of this exhibition is a sustained meditation on stillness—not as the absence of movement, but as a point of equilibrium within constant transformation. Guffogg’s layered surfaces, built through repeated acts of looking, revision, and restraint, invite the viewer into a temporal experience where perception unfolds slowly and deliberately. The paintings resist immediate comprehension, instead rewarding prolonged attention and contemplative engagement. Presented in the secluded setting of Gallery Chang – Vault, this exhibition recontextualizes the Venice Biennale works within an intimate, private environment. Removed from the scale and spectacle of the international exhibition format, the paintings are experienced here as singular encounters—allowing their subtle chromatic shifts, structural depth, and internal rhythms to fully resonate. This VIP-only, invitation-only presentation brings the emotional and philosophical gravity of Venice to Korea, offering collectors and invited guests a rare opportunity to engage closely with a body of work shaped by both place and introspection. At the Still Point of the Turning World ultimately proposes painting as a site of stillness amid flux—a space where time slows, perception deepens, and meaning quietly emerges. CATALOG View Catalog here INSTALLATION VIEWS