Back Korean Association of New York Artists (KANA) Part 1 ‘Binary Equilibrium’ The Korean Association of New York Artists (KANA) is hosting two group exhibitions at Gallery Chang in Manhattan from July 30 to August 18. Curated by Calvin Lee and Lina Hae Lin Hwang, the exhibition is divided into two parts: Part 1, "Binary Equilibrium" (July 30 - August 7), and Part 2, "Unbound Playground" (August 9 - August 18). In Part 1, "Binary Equilibrium," artists Tae Joong Kim, Sae Jun Kim, Jean Oh, Dawn Kim, Calvin Lee, Yuna Cho, Paul Rho, and Kai Oh, all active in New York, will participate. The exhibition title "Binary Equilibrium" is inspired by philosophical texts such as Nietzsche’s "Thus Spoke Zarathustra" and Sartre’s "Being and Nothingness," reflecting the artists' perspectives on the intersection of existentialism and nihilism. Referencing the Eastern concept of Yin and Yang, the exhibition explores the boundary of these two waves, seeking balance between contrasting themes. The Eight Trigrams represent specific forms of nature and life. Each trigram contains elements of the Eastern natural world, and together they symbolize a state of completeness in Buddhism. The works of the eight artists, which incorporate the harmony of existence and nothingness, resonate with the Eastern worldview of past generations encapsulated in the Korean flag. Exploring how objects are perceived by subjects, German aesthetician Nikolai Hartmann categorized beauty into four concepts, and this exhibition references Hartmann’s framework in examining how humans perceive nature. The exhibition is divided into four sections: Sublime Beauty (Sae Jun Kim, Tae Joong Kim), Humorous Beauty (Jean Oh, Kai Oh), Tragic Beauty (Calvin Lee, Dawn Kim), and Elegant Beauty (Paul Rho, Yuna Cho). Each pair of artists explores the philosophical thoughts of existentialism and nihilism, sharing diverse perspectives on the meaning of life and existence through their works. "Binary Equilibrium" focuses on the existential flow rooted in human relationships with nature, contrasting with the nihilistic principles of nature. Sae Jun Kim and Tae Joong Kim depict nature, observing existence from a perspective that is opposite to that of the audience. Jean Oh and Kai Oh investigate the ambiguity and clarity of existence, expanding the ecosystem’s perspective and capturing the dissonance between humans and nature. Calvin Lee and Dawn Kim visualize the relationship between nature and humanity, transforming a vertical structure into a horizontal one to create a sense of order on the same plane. Paul Rho and Yuna Cho share a common theme of nature’s permanence, rearranging memories of nature to elevate and expand the boundaries of Korean elegance. The opening reception will take place on July 30 from 6 PM to 8 PM, followed by an artist talk on Saturday, August 3, at 2 PM featuring artists Paul Rho, Calvin Lee, Jean Oh, and Kai Oh. 뉴욕한인예술인협회(KANA, Korean Association of New York Artists, https://www.nykana.org)가 7월 30일부터 8월 18일까지 맨해튼 갤러리 장(Gallery Chang)에서 2회의 그룹전을 연다. 이상혁(Calvin Lee)과 황혜린(Lina Hae Lin Hwang)이 기획한 이 전시는 1부 ‘Binary Equilibrium’(7/30-8/7)과 2부 ‘Unbound Playground’(8/9-8/18)로 나뉘어 진행된다. 제 1부‘Binary Equilibrium’에서는 뉴요게서 활동하는 김태중(Tae Joong Kim), 김세준(Sae Jun Kim), 오진이(Jean Oh), 김다운(Dawn Kim), 이상혁(Calvin Lee), 조윤아(Yuna Cho), 노바울(Paul Rho), 그리고 오가영(Kai Oh)작가가 참여한다. 전시 타이틀 ‘Binary Equilibrium’은 니체의 ‘차라투스트라는 이렇게 말했다’와 사르트르의 ‘존재와 무’와 같은 철학적 텍스트에서 영감을 받았으며 실존주의와 허무주의의 이중성의 맞닿아있는 부분에 대한 작가들의 견해를 담아낸다. 동양의 음양 개념을 참조하여, 전시는 음과 양의 물결의 결계선에 대한 탐구를 진행하며 두 개념의 대립을 넘어서 상반된 주제 사이에서의 균형을 찾아간다. 8괘는 자연과 인생의 구체적 형태를 나타낸다. 8괘의 각 괘는 동양의 자연계 구성물들을 담고있는데 각 괘가 모인 8괘는 불교에서 완전의 상태를 상징한다. 존재와 무의 음양의 조화를 포함하여 자연과 삶을 소재로 한 8명의 작가들의 작업들은 태극기가 담아내고 있는 선대의 한국인들의 동양적 세계관과 관점에 공명한다. 객체를 주체가 어떻게 바라보는지에 대한 탐구에서 독일 미학자 니콜라이 하르트만은 미적범주라는 개념을 정리하여 아름다움을 네개의 개념으로 분류하는데 전시는 인간이 자연을 어떻게 바라보는가를 두고 하르트만의 체계를 참고했다. 이정시는 숭고미(김세준, 김태중), 골계미(오진이, 오가영), 비장미(이상혁, 김다운), 우아미(보바울, 조윤아)의 4개의 섹션으로 나뉘어져 있다. 두작가가 짝을 이루어 실존주의와 허무주의의 두 철학적인 사유를 탐구하며, 인생과 존재의 의미에 대한 각기 다른 관점을 작품을 통해 공유한다. ‘Binary Equilibrium’은 인간과 자연을 근간으로 사람과의 관계에서 시작된 실존주의의 흐름과 이에 반한 자연의 허무주의의 원리에 집중한다. 김세준과 김태중은 자연을 형상화하며 자연의 관점에서 세상을 역으로 바라보며 관객의 관점과 반대되는 지점에서 존재를 관찰한다. 오진이와 오가영은 존재의 모호함과 명확함의 경계의 대한 탐구로 진행되며 생태계의 단면을 확장하고 인간과 자연을 동격으로 두어 서로간의 이질감을 포착해낸다. 이상혁과 김다운은 자연과 사람간의 관계릐 수직적인 구조를 수평적인 구조로 동일 선상에 뒁 생성되는 질서를 시각화한다. 노바울과 조윤아는 자연의 영속성을 공통된 주제로 담고 잇으며 자연의 대한 기억을 재배열하여 승화시켜 한국의 우아미의 경계를 확장해나간다. 오프닝 리셉션은 7월 30일 저녁 6시부터 8시까지 진행되며, 8월 3일 토요일 오후 2시 노바울(Paul Rho), 이상혁(Calvin Lee), 오진이(Jean Oh), 그리고 오가영(Kai Oh) 작가가 참여하는 아티스트 토크가 열릴 예정이다. Part 1: ‘Binary Equilibrium’ July 30 - August 7, 2024 [Source from nyculture press release, provided by sukie] www.nyculturebeat.com 뉴욕한인예술인협회(KANA) 그룹전 1부 'Binary Equilibrium' @갤러리 장 NY(7/30-8/7) - Lounge - NYCultureBeat KANA x Gallery Chang Summer Exhibition Part I : Binary Equilibrium July 30 - August 7, 2024 Gallery Chang: 150 West 55th St. New York Opening Reception: Tuesday, July 30, 6-8 pm Artists: Tae Joong Kim, Sae Jun Kim, Jean Oh, Dawn Kim, Calvin Lee, Yuna Cho, Paul Rho, Kai Oh Curated by KANA - Calvin Lee, Lina Hwang 뉴욕한인예술인협회(KANA, Korean As... < >

Back February 21, 2026 Coffee With The Artist Coffee with the Artist was an intimate Saturday morning event encouraging the public to engage with artist Alison Van Pelt. Taking place February 21st, 2026 from 11AM-1PM at 150 W 55th Street NYC (Gallery Chang NY), attendees enjoyed catered coffee and sweet treats from GoGoJang cafe next door. The event was designed so that visitors could speak with Van Pelt in depth, a rare opportunity of intensive and direct engagement with an artist for the general public. Those who joined us included repeat attendees from the previous Thursday evening’s Opening Reception, as well as new walk-ins from the neighborhood. Dozens of guests came through, many of whom were seeing Van Pelt’s work for the first time. During the visit, gallery owner JunHwan Chang took an iPhone video of Van Pelt in front of her portrait of Chris Cornell of her S’aints series. The portrait, in the left section to the gallery entryway, was dubbed off-camera by Van Pelt and her friends as “the hot guy corner,” with Cornell joined by portraits of David Beckham and Jesus Christ. Van Pelt has a good sense of humor–reflected again in her portraits of Rupert Murdoch and Pete Doherty, which both are accompanied by the phrasing, “I’d Be Loaded,” a play on words referencing Murdoch’s wealth and Doherty’s rockstar cocaine habit. When asked about these pieces, Van Pelt noted the connection and added that Doherty used to date supermodel Kate Moss. The reference to celebrities and the use of celebrity as a type of iconography is woven throughout the exhibition, though not a sole theme. Van Pelt’s work is clearly influenced by Hollywood, which makes sense considering the artist is based in Los Angeles, the U.S. (and world’s) celeb epicenter. As aforementioned, Van Pelt’s themes are not limited to stars. Much of her work includes more obscure references to art history, revealing a deeply intelligent mind: Van Pelt was formally trained in both California and Florence. Her website cites Agnes Martin, Robert Rauschenberg and Yayoi Kusama as key influences. Of Kusama, Van Pelt noted during the event that early in her career, Kusama had written an unsolicited letter to Georgia O’Keeffe, and that the latter artist, far more established at the time, responded. In the ensuing correspondence, one piece of advice from O’Keeffe to Kusama stands out: “show your art to everyone you can.” Gallery Chang is happy to support Alison Van Pelt in such an endeavor. Previous Next

< Back NYFW F/W Sep 1, 2025 Alex Soldier & Gallery Chang invite you to a star-studded New York Fashion Week extravaganza featuring exceptional New York designers: Alex Teih, Ali Taghavi, Club Lapel & equalshuman. An afternoon of fashion and artistry taking place Saturday, September 13th, 2025, from 3:00 PM to 5:00 PM. Join us for a spectacular celebration of creativity, couture, and fine artistry, as we unveil another unforgettable showcase at the intersection of fashion & design. Prince Mario-Max Schaumburg-Lippe will join TV host Tanis Rubis and Alex Soldier for the dazzling celebration. Artisanal desserts by GoGoJang cafe, paired with sparkling bubbles to be served. Produced by Andrew Cristi & Maria Soldier. #NYFW Photographer @alexanderSun75 Production Manager @janna.fey Producers Andrew Cristi & Maria Soldier Guest star attendee - actress Susan Hayward (Orange Is the New Black) @alexsoldierjewelry @equalshuman_movement @clublapel @alexteih_studio @gallerychang

Back At the Still Point of the Turning World - Strangers of Time A new series of twenty-one large-scale paintings represent the ongoing dialogue between the American abstract artist Shane Guffogg and T.S. Eliot’s famous set of poems, the Four Quartets . In his works the artist develops the ideas of movement, escape and migration, highlighting the transitory aspect inherent to human nature. These are autobiographical themes for Guffog, in fact his father emigrated from Northern England to the USA in 1957 looking for the “American dream”. [Source from venezianews press release] venezianews.it SHANE GUFFOGG. At the Still Point of the Turning World - Strangers of Time < >

South Korea, 1964 Artist Biography Works Next Kim Younghun South Korea, 1964 BIOGRAPHY EDUCATION 2008 Master’s degree in Painting, Chelsea College of Arts, University of the Arts London 2006-07 One year of Master’s studies in Painting, Goldsmiths, University of London 1992 Bachelor’s degree in Painting, Hongik University, College of Fine Arts MAJOR SOLO EXHIBITIONS 2023 Frequency, Hakgojae, Seoul 2023 Meta River, Soluna Fine Art, Seongwan, Hong Kong 2023 Meta River, Gallery Richard, Paris, France 2021 Ripple Ripple, Soluna Fine Art, Seongwan, Hong Kong 2020 Diamond Mountain, Soluna Fine Art, Seongwan, Hong Kong 2019 Electronic Nostalgia, Gallery Richard, Paris, France 2019 Electronic Nostalgia, Gallery Richard, New York, USA 2017 Virtual Landscape, Chois & Lager Gallery, Seoul 2016 Electronic Nostalgia: Noise, Gyeonggi Museum of Modern Art, Gapyeong 2013 Cloud Map, Space K, Daegu 2012 Cloud Map, Zaha Museum, Seoul 2012 Cloud Map, Nuovo Gallery, Daegu 2010 Electronic Nostalgia: Broken Dreams, Seonggok Art Museum, Seoul 2003 Atelier Heherbek e.V., Düsseldorf, Germany 2002 Espace Icare, Issy-les-Moulineaux, France 2001 Paris International Art Community, Paris, France 1997 The Dark Side of the Moon, Ungjeon Gallery, Seoul 1995 Total Museum of Contemporary Art, Jangheung MAJOR GROUP EXHIBITIONS 2023 Insights of Painting, Guhaus Museum, Yangpyeong 2023 Summer Abstraction, Gallery Richard, Paris, France 2023 Eojim Sanggyeong (衣錦尙絅), Hakgojae, Seoul 2023 Surface Red, Art-ing Gallery, Seoul 2022 How to See, Yari Lager Gallery, Cologne, Germany 2022 Boundless, One Art Space, New York, USA 2022 Eumpoong Myeongwol, Korean Cultural Center, Central, Hong Kong 2022 Comprehensive Judgment, Yoonseon Gallery, Daegu 2022 Reflection, Soluna Fine Art, Seongwan, Hong Kong 2021 Total Support, Total Museum of Contemporary Art, Seoul 2021 Prism, Soluna Fine Art, Seongwan, Hong Kong 2021 Pass Pro Toto, Xian Art Museum, Yeongcheon 2021 Masterpiece, Gallery Richard, Paris, France 2020 Chayeon - Kim Young-hun & Lee Geon-yong Two-Person Exhibition, Choice Art Company, Seoul 2020 Cheongpung Myeongwol, Korean Cultural Center, Central, Hong Kong 2020 Visual Pleasure, Gallery Richard, New York, USA 2019 Hyper Salon, U Art Space, Seoul 2019 4482, Cell Art, Seoul 2018 Color Matters, Gallery Richard, New York, USA 2018 Kim Young hun & Kim Jin Two-Person Exhibition, Gallery Ibae, Busan 2017 Today's Vision, Hongik University Museum of Modern Art, Seoul 2017 Imperfect Harmony - Kim Young-hun & Robert Munting Two-Person Exhibition, UNC Gallery, Seoul 2016 Image Operations, Lee Yu-jin Gallery, Seoul 2016 Middle Distance - Shane Bradford & Kim Young-hun, Chois & Lager Gallery, Cologne, Germany 2016 Come Back to Busan Port, Best Foosen Art Museum, Best Foosen, Norway 2015 Dreaming in the Moon - Three Colors, Zaha Museum, Seoul 2015 Have a Good Day, Mr. Kim!, Michael Horbach Foundation, Cologne, Germany 2014 Neo Landscape, Daegu Art Museum, Daegu 2014 Artist's Room, Opening the Door, Gallery One, Seoul 2014 Total Support, Total Museum of Contemporary Art, Seoul 2013 Homo Utopicus, Hada Contemporary, London, UK 2013 33 Korean Contemporary Paintings, Gangdong Art Center, Seoul 2013 Multi-Effect, Gallery In, Seoul 2013 British Impact, Gallery Ibae, Busan 2013 Fantasy - Will Be There, Daegu Art Development Center, Daegu 2012 Geumgang Nature Art Biennale, Geumgang Nature Art Center, Gongju 2012 Transformed Human Body, Space K, Gwangju 2012 Range of Secret Errors, Gwangju Museum of Art, Gwangju; Busan Museum of Art, Busan; Arko Art Center, Seoul 2011 From a Distance, Keep a Distance, Seonggok Art Museum, Seoul 2010 Art Actually, Kunstdok Gallery, Seoul 2010 Electronic Nostalgia, Mullae Art Factory, Seoul 2010 Over the Rainbow, Seonggok Art Museum, Seoul 2009 Digital (탈)/Multiple Emotions, Sejul Gallery, Seoul 2009 Nomadic Project - Time and Space, Dalan Zhadgard State Museum, Dalan Zhadgard, Mongolia 2009 Ehwa, Norias Gallery, London, UK 2009 Cohesion 2009, Bordhi Gallery, London, UK 2008 Cohesion 2008, Desima Gallery, London, UK 2003 Kim Young hun & Moon Byung-tak Two-Person Exhibition, Ingolstadt City Museum, Ingolstadt, Germany WORKS

South Korea, 1973 Artist Biography Works Next Kimi Kim Wittling South Korea, 1973 BIOGRAPHY Kimi Kim has been working in various genres including textile, woodcraft, print, lacquer, graphic design and ceramics since 1994. After graduating in Ceramics Design from Central Saint Martin’s College of Art and Design in London, she has been focusing more on ceramics. Her works feature delicate forms inspired by nature, such as trees, leaves, and petals made from fragile materials, such as ceramic and “paper clay”. These forms represent the nature of love and care in Kim’s personal life and how these relationships and beacons of joy are impossibly fragile, yet indescribably precious. People always live longing for what they can or can’t have dreaming of achieving something. In my first series, I wanted to talk about women’s desires and thirst through Chanel bags, but they expressed their desire to be jealous and disdain because they couldn’t have it in the closet, and they couldn’t have it in the form of a torn bag. The second desire series LEGO is looking back at my childhood when I see the LEGO blocks my kids play with, and we always have a desire to achieve something, but we are a little bit concentric and built up some form of LEGO blocks as I want. Why don’t we all become artists. EDUCATION 2015 UrbanGlass Class for Imagery 2007 BA University of the Arts of London Central Saint Martins, London, UK Specialization: Ceramics 2006 London College of Art – Camberwell Foundation 1998 BA Silla University, Busan, Korea 1992 - 1994 Industrial Design & Craft, Busan Women’s College, Korea SOLO EXHIBITIONS 2023 Waterfall Mansion Gallery, New York A Blooming Resilience LA Art Show Shatto Gallery, LA (Group Exhibition) 2022 Miami beach Art Show Gallery Mare, Galleries Art Fair Setec, Seoul, South Korea Gallery Mare, “I choose to be GRATEFUL“, Paradise Hotel, Busan, South Korea 2021 Artful living Project, Bergdorf Goodman X Waterfall Mansion Gallery, Bergdorf Goodman, NY 2020 Artful Living Campaign, Waterfall Mansion & Gallery, NY (RESTORE) To Beloved Artists, Waterfall Mansion & Gallery, NY 2019 Consider the Butterflies, Waterfall Mansion & Gallery, NY Re:collection, Waterfall Mansion & Gallery, NY Sidexside, Waterfall Mansion & Gallery, NY Sea Beyond, Waterfall Mansion & Gallery, NY Transfiguration, Waterfall Mansion & Gallery, NY Be still, Waterfall Mansion & Gallery, NY 2018 Infinite Grace2, Alpine, NJ Infinite Grace, Waterfall Mansion & Gallery, NY 2017 Bergdorf Goodman, NY Inside the Flower Matrix, Collaboration of Claudia Hart, Transfer Gallery, NY Artful Living, West Village Printing House, NY New Book: 2017, Waterfall Mansion & Gallery, NY Moving Image Immersive Media, Art Fair, NY, in collaboration of Claudia Hart, NY Da Vinci Creative 2017, Geumcheon Art Space, Seoul, Korea A Sustaining Life, Bergdorf Goodman, NY Re:collection, Waterfall Mansion & Gallery, NY Inside the Flower Matrix, Collaboration of Claudia Hart, James Thompson Gallery, NY 2016 SUMMER CELEBRATION, Waterfall Mansion & Gallery, NY The Needs for My Care, Waterfall Mansion & Gallery, NY 2015 Alice’s Tea Set, Collaboration of Claudia Hart, Eye Beam Gallery, NY Fermented Souls, Waterfall Mansion & Gallery, NY 2014 Welcome to Alice’s Giftshop!, Collaboration of Claudia Hart, New Museum Store Project, NY 2013 MANMULSANG, Lotte Gallery Main Branch, Seoul, Korea WAVE, Ethan Cohen Fine Arts, NY (Solo Exhibition) T.R.E.E, Avery, NY 2007 Camberwell Graduation show Graduation Show, University of the Arts of London Central Saint Martins, UK 1998 Graduation Show, Silla University, Korea 1996 Life and Soil, Hyundai Department Gallery, Seoul, Korea WORKS Load More

Feb 8 - 28, 2024 Intro Catalog Installation Views Next [C1] New York MASTERPIECE (2019-2023) Feb 8 - 28, 2024 Kim Kang Yong INTRO Gallery Chang is pleased to announce the unveiling of Kim Kang Yong's second solo exhibition in New York, marking the inaugural exhibition for the gallery. As a distinguished figure in Korean contemporary art, Kim Kang Yong embarked on his artistic journey in the mid-70s, captivated by the hyperrealist movement. It's noteworthy that Korean hyperrealism of that era differed from its American counterpart, reflecting unique perspectives shaped by societal contexts such as the construction boom under the 5-year Economic Development plan. The 1970s in South Korea witnessed a surge in construction activities, with industrial complexes, express highways, and apartment complexes springing up in major cities as part of this developmental phase. This unique societal background significantly influenced Kim Kang Yong's artistic approach, particularly in themes related to brick and material. The prevalence of construction and urban development during this period became integral to his artistic expression. Kim Kang Yong's exploration of hyperrealism not only captured the visual aspects of his surroundings but also delved into the essence of societal transformation. His utilization of brick and its material distinctly reflects the societal development in South Korea during that era, evident in his works. Kim Kang Yong's monochrome representation of brick underwent a significant transformation upon his arrival in New York in 2005, where the vibrant spectrum of brick colors in Manhattan captivated him. This experience marked a pivotal shift in his artistic approach, leading to the inception of multicolored works during his time in New York. Upon returning to Korea, Kim Kang Yong continued his asetheic exploration and embarked on technical experimentation, further enriching the depth and diversity of his artistic expression. Yet, Kim Kang Yong's artistic endeavors extended beyond. The current exhibition at Gallery Chang stands as a testament to his ongoing dedication - a byproduct of his relentless artistic endeavor. Highlighting Kim Kang Yong's latest works spanning from 2019 to 2023, this showcase is a vivid portrayal of his unwavering pursuit of originality and creativity, catalyzing the redefinition of artistic boundaries. His influence extends beyond South Korea, resonating globally and setting new benchmarks in hyper-realism, thereby expanding the horizons of what art can aspire to achieve. CATALOG View Catalog here INSTALLATION VIEWS

Jan 21 - Feb 28, 2025 Intro Catalog Installation Views Next [C4] Seoul Beyond Boundaries: Reinterpreting Tradition, Reimagining the Modern Jan 21 - Feb 28, 2025 Ahn Seongmin INTRO Time flows from the past to the present, but art transcends those boundaries, existing across eras. Seongmin Ahn’s work exemplifies this timeless quality, seamlessly moving between tradition and modernity, East and West. Her solo exhibition, "Beyond Boundaries: Reinterpreting Tradition, Reimagining the Modern" , invites us to experience a dialogue between the heritage of traditional Korean Minhwa and the creative language of contemporary art. At the core of Seongmin Ahn’s practice lies a fundamental question: “What is tradition, and how does it remain alive in the modern world?” Korean Minhwa , known for its symbolic imagery and free-spirited expressions, reflected the aspirations and emotions of everyday people. Yet in Ahn’s hands, Minhwa transforms into something more: a platform for reinterpretation and reinvention. Familiar motifs—cranes, lotus flowers, and Hwajodo (bird-and-flower paintings)—are reimagined alongside modern, Western objects and symbols of contemporary life. Through these juxtapositions, Ahn creates fresh narratives that blur the lines between past and present, East and West, tradition and innovation. Her work challenges the notion that tradition is static or confined to history. Instead, Ahn presents tradition as a living, evolving force, one that can interact with the present moment and inspire new meanings. Her canvases are not merely visual displays but philosophical spaces where boundaries are dissolved, allowing diverse cultural and temporal elements to coexist and create new artistic possibilities. This exhibition opens the year 2025 with profound significance—a symbolic beginning that bridges the vitality of tradition and the ingenuity of modern creativity. Ahn’s works inspire viewers to rediscover familiar stories while embracing the new, offering a glimpse into how the past and present can harmonize to produce something timeless and contemporary. CATALOG View Catalog here INSTALLATION VIEWS

Back BECOMING WITHOUT END: The Ever-Transforming Practice of Ed Moses Gallery Chang in Midtown Manhattan is presenting the retrospective exhibition Ed Moses: Becoming Without End from August 14 through September 27. The exhibition introduces key works from Ed Moses (1926–2018), a leading figure of the postwar Los Angeles art scene, including representative pieces from his Acota , Magma , and Grid series. In the 1950s and 60s, Ed Moses was active in the art group known as the “Cool School,” alongside artists such as Craig Kauffman, Ed Ruscha, Robert Irwin, Larry Bell, Edward Kienholz, John Altoon, Ken Price, and Billy Al Bengston. Centered around the Ferus Gallery in Los Angeles, the Cool School developed an experimental and free visual language that stood apart from the New York–centered Abstract Expressionism of the time. For Moses, painting was a “laboratory,” and he continuously pursued change. Every six or seven years, he would shift his style—cutting and reconstructing canvases, or mixing materials such as resin, sand, and metal powder to create entirely new painterly surfaces. A representative work from the experimental Magma series, Ocnal (2002), shows intense energy, with lava-like red tones erupting from within black fissures. Check #2 (2003) introduces an orderly grid, yet disrupts it with irregular brushstrokes and colors, creating a surface where order and chaos coexist. In the late work Grid B (2017), Moses returns to the grid, but layered color planes seem to vibrate, giving the illusion that the painting itself is alive and breathing. Ed Moses was born in 1926 in Long Beach, California, and received his BFA and MFA from the University of California, Los Angeles (UCLA). From 1968, he taught at the University of California, Irvine, and in 1980 he was awarded a Guggenheim Fellowship. He participated in the Whitney Biennial in 1991, and in 1996 the Museum of Contemporary Art, Los Angeles (MOCA) held a major retrospective titled Ed Moses: A Retrospective of the Paintings and Drawings, 1951–1996 . His works are in the collections of the Art Institute of Chicago, the Museum of Modern Art (MoMA), New York, the Philadelphia Museum of Art, and others. His son, Andy Moses (b. 1962), is also a painter and earlier this year held a solo exhibition at Gallery Chang titled ANDY MOSES: RECENT WORKS . Curator Jinnie Kang of Gallery Chang stated that she organized this exhibition in the hope that “for New York audiences, this will not be merely a retrospective, but an opportunity to encounter Moses’s experimental spirit as it is newly reactivated each time.” https://www.nyculturebeat.com/index.php?mid=Lounge2&document_srl=4161812 < >

Back Iconic Korean Moon Jars by Renowned Artist Oh Kwan Jin on Exhibit in Upstate NY MIDDLETOWN, New York — Serene and intricate traditional Korean paintings grace the walls of a new gallery in upstate New York, which opened its doors for a ribbon-cutting event from 5 to 7 p.m. on Friday. Feb. 16. Located in Middletown, an up-and-coming community in western Orange County, Gallery Chang at 55 North St hosted over a dozen pieces by famed painter Oh Kwan Jin, whose work has featured in over 20 Korean TV dramas. The inaugural exhibit is titled Emptying to Enrichment: Moon Jars Path . It will remain open to public viewing at Gallery Chang until March 17. Works on display revolved around the theme of moon jars — a type of Korean pottery developed during the Joseon Dynasty (1392–1897). The simple appearance at first glance of the paintings belies finer details that reveal themselves easily upon scrutiny. A Korean moon jar motif brush painting by artist Oh Kwan Jin on display in the Gallery Chang C2. Photo taken Feb. 16, 2024 in Middletown, upstate N.Y. (Image: Vision Times) Middletown, NY Mayor Joseph DeStefano on His Initiatives to Help Local Businesses Thrive A piece by Korean artist Oh Kwan Jin, entitled “Emptying and Enrichment Holding Blessings” on display at the Gallery Chang C2 location in Middletown, N.Y. (Image: Provided to Vision Times) Eastern and Western technique is visible in Oh’s art, which carries a contemporary feel while retaining the subtleties and atmosphere of traditional Korean brush painting. One of his new paintings, displayed at the entrance of the gallery, includes Blue Dragon , inspired by the Eastern astrological tradition where 2024 marks the Year of the Wood Dragon (in the ancient theory of five elements, wood is signified by the color blue). This thematic piece adds a unique cultural resonance to the collection, complementing Oh Kwan Jin’s new 2024 works. Middletown Mayor Joseph DeStefano was in attendance for the ribbon-cutting ceremony, held shortly after 5 p.m. Middletown, N.Y. mayor Joseph DeStefano (center, holding scissors) attends the ribbon-cutting ceremony at the Gallery Chang at 55 North St. Artist Oh Kwan Jin and Chang Jun Hwan (L-R from DeStefano) are also in attendance. (Image: Vision Times) Director Chang Jun Hwan, known for his involvement in notable endeavors including the 2018 Pyeongchang Winter Olympics in Seoul, envisions Gallery Chang not merely as an art gallery, but as a dynamic cultural hub fostering creativity, igniting community engagement, and catalyzing artistic expression in Middletown. The Middletown location is the second Gallery Chang , following the original location in central Manhattan. Another Gallery Chang in Palisades Park, New Jersey, is planned to open in 2025. Moon jars: calm and peace Oh Kwan Jin has worked with moon jars and moon jar-related themes for over 35 years. The moon jar “represents calm and peace.” The contrast of the white jar on a blue background is a “perfect example” of a moon jar painting, Chang Jun Hwan said at the opening event, pointing at one of Oh’s works. Moon jars are intentionally made to be slightly asymmetrical. They feature a smaller base and larger top, which simulates the impression of floating in air. “Blue Dragon” seen near the entrance of Gallery Chang. (Image: Vision Times) Chang, accompanying Oh, explained at the opening event that the moon jar motif “represents our life, which is not perfect. … The imbalance itself is natural beauty.” Elaborating on the name of the exhibit, “Emptying to Enrichment,” Chang said, “All of these drawings represent one big theme: a philosophy of emptying and filling. In order to fill yourself, you first have to empty yourself, that is the Asian, the Korean and Chinese mindset. You first have to give out to get something.” Some of the artworks featured symbolism relating to Eastern culture and customs. For instance, one piece had a moon jar placed upon a wooden chest, which in Asian countries are used to store money and other valuables, Chang said. Chang Jun Hwan (R) poses with a visitor to Gallery Chang. (Image: Courtesy of Gallery Chang) “We put the moon jar on top of it so that it can be protected, even in the nighttime,” he said through the aide, pointing to an actual moon present in the painting. Occupying a central place in the gallery was a piece with several moon jars on a dark blue background. The dark blue, Chang explained, represents the darkest night before the sunrise. “The sunrise is hope. Just like Middletown is reviving itself [and entering] a new stage,” he said. [Source from VISION TIMES press release, provided by Leo Timm] < >