Jane Lombard Gallery

We are looking forward to our booth presentation featuring works by Howard Smith and Richard Ibghy & Marilou Lemmens at !
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The ceramic sculptures from Ibghy & Lemmens’ series Alternative Facts of the 21st Century give shape to questionable facts, rumors, and conspiracies that have spread since the beginning of the century. The para-monuments are accompanied by their respective backstories that detail the “false” truths that the sculptures are meant to commemorate. Below is the backstory for the pictured para-monument, “The US Government's Secret Weather-Control System.”

‘In 2014, the High Frequency Active Auroral Research Program (HAARP), a controversial Alaska-based research facility developed to study the earth’s upper atmosphere, was shut down. The program was funded by multiple actors, including the Air Force, the Navy, and the Defense Advanced Research Projects Agency. It had long been known that the program was secretly designed to control the weather. In 2010, Venezuelan leader Hugo Chávez made it public that HAARP triggered the earthquake that hit Haiti that year.’

Smith’s series Universes is composed of several smaller canvases dispersed along the wall independent of any controlled parameters. Their presentation is arranged so that the works have a voice as both individuals and parts of a whole. The lack of rigidity in placement breathes agency into the viewer, facilitating novel perceptions of how brushstroke, mark, and canvas accrue to make color, space, shape and light.

Collectively, Smith, Ibghy & Lemmens engage the ordinarily passive viewer by encouraging a re-evaluation of their own positioning. What are the systems in place that we measure ourselves by? Who is really in charge?

The fair is open from May 9 - 12, 2024.
🔗 in bio for tickets.
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Richard Ibghy & Marilou Lemmens, “The US Government’s Secret Weather-Control System,” 2021. Ceramic, 12 x 14 x 9 in.
Howard Smith, “Universe #31,” 1991 - 2021. Oil on linen, dimensions variable.
.dee.nyc

✨Happy Holidays from JLG! ✨
The gallery will be closed from December 17th - January 1st.

Thank you Contemporary Council and curator Vivian Crockett for dropping by to see .mora exhibition The Real Beneath!

Sneak peek of .artist works in our booth !

Happy International Women’s Day from the ladies of !!
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Sneak Peek of Tomoko Amaki Abe’s evocative cast glass and wood suspended sculpture titled, Blood to Milk (2019). Be sure to drop by this Friday for the opening reception of (Barely) Tempered: Concepts in Tension @ 6-8PM! 🥂
Several of the artists will be in attendance! Tomoko Amaki Abe] James Clar] Kristin McIver] ✨
(Barely) Tempered : Concepts in Tension
Curated by Richard Lombard
March 10 - April 22, 2023
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Featuring:
Tomoko Amaki Abe]
James Clar]
Kristin McIver]







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🔥 named one of six “Artists of the Year” by 🔥
Link in bio to read more!

New signage. 😍

Installation views 😍
“Double Trouble” by
Now on view through February 25!
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Collaborating under the name “CMTK,” Kyoto-based artists Teppei Kaneuji and Chihiro Mori showcase new and recent lenticular works from the series Star & Dust. Kaneuji’s exploratory printing and collaging methods, coupled with Mori’s own photographs and collection of found images, result in a slivered amalgam of pop culture and personal snapshots, shifting with the viewer’s changing vantage point. Also on view will be several new dimensional collage works from Kaneuji’s surrealistic series "The Sea & Pus: An Illustrated Guide to Animals."
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Visual typologies are procured, dissected, and manipulated throughout Star & Dust. One such example, (New York/Coffee) (2022), highlights commercial and vernacular imagery with the brew as subject. Other works in the series, like (New York/Non-Alcoholic) 2022, and (New York/Alcoholic) 2022, compile images from Mori’s collection that include non-alcoholic and alcoholic beverages and behaviors, respectively. Abstracted images of the city that never sleeps are spliced within the lenticular whole of all three works, adding a background of colorful shapes to the illusionistic assemblages. A multifaceted commentary on consumption, literal and cultural, plays out across the series.
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In addition to "Star & Dust" by CMTK, the gallery will highlight a selection of new collage works created by Kaneuji as part of his ongoing solo series The "Sea & Pus: An Illustrated Guide to Animals" (2004 – Present). Utilizing Ricoh's latest three-dimensional printing technology, StareReap, Kaneuji overlays cut-outs of found feline imagery with playful simulacra of cosmetic drips and smears. The process and resulting works exemplify the artist’s penchant for divergent themes and their collision.
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Installation view. 📷: Arturo Sanchez

Thank you to everyone who attended our get together last night with !
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Gallery Director Lisa Carlson giving Parson MFA candidates an informative discussion on our history, gallery programming, and professional practices! Thank you for bringing them by!

Thank you to Efren and for stopping by to see solo exhibition: "Clatter.....THUD" - on view until October 15!

Final day to see ! Booth 326! 💥

Please join us in wishing a very happy birthday to Yuko Mohri !
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If you happen to be in Budapest her work can be seen at the Ludwig Museum's group show "Extended Present" on view through September 4.
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Yuko Mohri produces installations that convey intangible energies such as magnetism, gravity, light, and temperature, by creating assemblages of reconfigured everyday items and machine parts collected from cities around the world. By using these disparate mechanical elements, such as everyday items, junk, and machine parts, Mohri’s installations are like autonomous ecosystems. Always activated by the environment around them, these installations bring the concept of site-specificity to a new level. 

We are delighted to be showing four select works from Ben Sloat's (’s ) "I'm Not Like Other Guys" (2008-2022) miniature series in which he reimagines Jeff Koons' "Michael Jackson and Bubbles" (1988) at a smaller scale; embodying various cultural iconographies. Sloat's works are included in our current group exhibition “Punchline,” curated by .shadows.art - on view through August 12!
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From the Artist:
“Produced a year before his death, "I'm Not Like Other Guys" scrutinizes the iconography, identity, nostalgia, and tragedy surrounding Michael Jackson.”

Ben Sloat often uses elements of the vernacular in his works; generating hybrid social meanings and reflecting the artist's multiracial Taiwanese-American background. Working across mediums, the projects frequently find themselves considering the capacity of iconography, image, or light based material, in a wide and inclusive definition of the "photographic". Cultural vocabulary is commonly used as a medium in the work, oscillating between an intimately personal voice and a larger societal one.

Born and raised in New York City, Ben Sloat earned degrees from UC Berkeley and SMFA/Tufts. His work has been shown in venues such as the Havana Biennial (Matanzas), Radium Art Center (Busan), Kunsthal Charlottenborg (Copenhagen), Museum of Fine Arts (Boston), Dublin City Gallery/The Hugh Lane (Dublin), Peabody Essex Museum (Salem), Virginia Museum of Fine Arts (Richmond), and the Queens Museum. Solo exhibitions include those at Das Klohauschen (Munich), Steven Zevitas Gallery (Boston); Coop Gallery (Nashville), Galerie Laroche/Joncas (Montreal), Gallery 126 (Galway), Front Gallery (Oakland), and the American Cultural Center (Taipei).

He is the director of the MFA in Visual Arts program at Lesley University in Cambridge, MA.
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Works:
"Skeletor and Gremlin," 2008-2022, resin and enamel, 9 x 12 x 4 inches.
"The OG's, (after Koons)," 2008-2022, resin and enamel, 9 x 12 x 4 inches.
"Lion-o and Wish Bear," 2008-2022, resin and enamel, 9 x 12 x 4 inches.
"Thriller Zombie and Gizmo," 2008-2022, resin and enamel, 9 x 12 x 4 inches.

The Guerrilla Girls, the OGs of using humor to drive home a message, and whose ongoing political works according to Danielle Wu from our recent review in begs the question: “does public humiliation work at a fast enough pace?” A selection of signed posters currently in our group exhibition “Punchline” curated by .shadows.art highlight that have been pushing the same critiques against art institutions and beyond for decades proving the issues are often left unresolved.
*Guerilla emjoi (?)*
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About the Guerrilla Girls:

“The Guerrilla Girls are anonymous artist activists who use disruptive headlines, outrageous visuals and killer statistics to expose gender and ethnic bias and corruption in art, film, politics and pop culture. We believe in an intersectional feminism that fights for human rights for all people. We undermine the idea of a mainstream narrative by revealing the understory, the subtext, the overlooked, and the downright unfair. We have done hundreds of projects (street posters, banners, actions, books, and videos) all over the world. We also do interventions and exhibitions at art museums, blasting them on their own walls for their bad behavior and discriminatory practices, including a stealth projection on the façade of the Whitney Museum about income inequality and the super rich hijacking art. Our retrospectives and traveling exhibitions have attracted thousands. Our motto: Do one thing. If it works, do another. If it doesn’t, do another anyway. Keep chipping away!”
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Order of appearance:
“If You Keep Women Out They Get Resentful”, 2018
“Are There More Naked Women Than Women Artists in Art Museums?”, 2021
“History of Wealth and Power”, 2016
“Discrimi-Nation”, 2016
“What's the Difference Between a Prisoner of War and a Homeless Person?”, 1991
“MoMA Loves DaDA Not MaMA”, 2018
“3 Ways to Write a Wall Label When the Artist Is a Sexual Predator”, 2018
“Guerrilla Girls’ Code of Ethics for Art Museums Monument”, 2018

Congratulations to gallery artist Sawangwongse Yawnghwe’s ( ) inclusion in the group exhibition “River Pulses, Border Flows,” at the Times Museum ( ), Guangzhou. On view through August 27.

From the press release:
"This exhibition brings together creators and researchers from different cultural backgrounds, many of whom are hands-on practitioners of flow — flows of humans, commodities, labor, animals, language, and identity. They have long been concerned with the ecological and cultural contexts where these flows take place, and they are each present from both the inside and the outside, leaping between layers of borders to offer their own observations and reflections of the rivers and shores. Just as the river connects everything like a bloodline, the works of these practitioners are also interconnected by the issues they address: colonial pasts and contemporary wars, environment and development, tradition and migration…”

Visit our linkin.bio for more information!

Sawangwongse Yawnghwe was born in Shan State of Burma in 1971. Yawnghwe’s painting and installation practice engages politics with reference to his family history as well as current and historical events in his country. Family photographs also provide the basis for a pictorial language through which he explores events in the country, suggesting that existing and available archives cannot reveal a nation’s entire truth. In addition, Yawnghwe’s work of maps charts the conflicts between drugs such as he**in and amphetamines, revolutionary armies, minority ethnicities, mining and gas pipelines, the armament of generals, as well as state genocide against its minorities. He intends to bring discernible order to a complex political situation.

Image:
Sawangwongse Yawnghwe
"Crossing Salween,” 2022
oil on linen, 78 x 126 inches

Thank you for dropping in and viewing “Punchline!” (curated by .shadows.art)✨
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Punchline is on view until August 12.
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Jane Lombard Gallery is pleased to announce its summer group exhibition: Punchline, a takeover of its Tribeca space by the Boston-based Praise Shadows Art Gallery (.shadows.art ). Presenting works of various media from ceramics to video games, the show is inspired by artists who use humor to communicate issues that are often considered taboo or difficult subjects of conversation. Punchline is also inspired by our need for levity, our desire to laugh out loud unexpectedly. The (art) world could use a little more laughter. The exhibition, featuring work by Jon Burgerman ( ), Reniel Del Rosario ( ) , Madeline Donahue ( ), Divya Gadangi ( ), the Guerrilla Girls ( ), Garrett Gould ( ), Oliver Jeffers ( ), Nina Katchadourian ( ), Kalup Linzy ( ), Duke Riley ( ), and Ben Sloat ( ), opens with a public reception on July 7th from 5–7 PM, and will be on view through August 12th, 2022.
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Image: Garrett Gould, "Wreath," (2022)

Large text "IF WE KNOW,” is layered in thick oil paint across the expanse of canvas; "THEN WE MUST", the painting's title, written along the side of the panel- part organization tool for the artist, part asking the viewer to see the work sculpturally “in the round”- are lines pulled from James Baldwin’s 1970 “History is a Weapon: An Open Letter to My Sister, Angela Y. Davis”:
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“If we know, then we must fight for your life as though it were our own-which it is-and render impassable with our bodies the corridors to the gas chamber. For if they come for you in the morning, they will be coming for us that night.”
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Created at the beginning of the pandemic, George Floyd’s death, and Congressman John Lewis’ passing, "Then We Must" serves as a palimpsest of a critical moment in our nation’s history, and begs us to ponder how we are evolving, or not, from such events. The large work is occupied with quotes, sketches, notes, and observations, all rendered in paint. Depicted symbols that are repeated throughout Carnwath's new works such as a ship (is it sinking?), a wire hanger, and a handgun crossed out, implore the viewer to consider the heavy topics our nation is constantly trying to reckon with.
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Squeak Carnwath [ ]
"Then We Must," 2020
Oil and alkyd on canvas over panel
77 x 77 inches

Via :
"Our Labyrinth transforms the simple, act of sweeping into a performance, bringing a sense of ritual into the museum. It was inspired by Lee Mingwei's experience of visiting ancient temples in Myanmar, where paths leading to temples are swept by volunteers.

The performance features two dancers wearing sarongs with bells on their ankles moving slowly as they brush grains of rice into patterns. They sweep to create a winding labyrinth-like path within a precise space similar to an ink pool.
The performance has been staged in Taipei, Shanghai, Paris, Jakarta, Berlin, New York, and Tokyo, and the edition presented at Tate Modern is the first time the work has expanded to include two performers dancing at a time.

Lee creates participatory installations exploring issues such as trust, intimacy, and self-awareness. He often takes everyday interactions as his starting point, from eating and sleeping to walking and conversation.

"Our Labyrinth" will be performed continuously from morning to evening in the Turbine Hall from 26 May – 15 June. A conversation with the artist will be held on the 27 May as part of Tate Late and the performance will continue until 21.30 for the event.

Performed by Ben Ajose-Cutting, Iris Athanasiadi, Rosalie Bell, Yen-Ching Lin, Liu I-Ling, Jean-Gabriel Manolis, Thomas McKeon, Aya Sone, Olivia Thynne, and Wu Cheng-Lung.”

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We at JLG are thrilled to see this work performed, albeit virtually, within the great walls of the Turbine Hall . Bravo, Lee Mingwei and the beautiful performers who made this work possible.

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Performance view of Our Labyrinth, 2015/2022
Photograph © Tate 2022 by Oliver Cowling

to our 2021 exhibition "Doku: Digital Alaya"
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About the work and exhibition:
"Doku: Digital Alaya" combines ancient Buddhist ideas about reincarnation with the latest technology of motion capture and live animation. Doku is Lu Yang’s latest nonbinary avatar named after the phrase, “Dokusho Dokushi”, meaning “We are born alone, and we die alone.” Digital Alaya, the title of this show, is a reference to ālayavijñāna, the term for a storehouse of consciousness that is the basis of all mental, spiritual, and physical development. In the course of the exhibition, Doku appears in six 3-D environments, each representing one of the six realms of rebirth in a Buddhist concept of reincarnation.
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Stayed tuned to our page for exciting news featuring !
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Installation views: LuYang, "Doku: Digital Alaya", 2021. Images courtesy of the artist and Jane Lombard Gallery.

Squeak Carnwath
"Home," 2020
Oil and alkyd on canvas over panel
50 x 50 in
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"Home" is a part of current exhibition, "Pattern Language" on view through June 18.
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Jane Lombard Gallery closes for Memorial Day weekend today at 3pm, and reopens Tuesday, May 30. We hope everyone has a safe and pleasant holiday weekend and invite you to soak in this light-drenched painting by Elizabeth Schwaiger, which was completed during her artist-in-residency at the Robert Rauschenberg Foundation in Captiva, Florida, in 2019.
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Elizabeth Schwaiger
"Captiva," 2019
oil, acrylic, ink, and watercolor on canvas
47 x 39 inches

Congratulations to Lee Mingwei whose ongoing performance work "Our Labyrinth" opens today !
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"Our Labyrinth transforms the simple, act of sweeping into a performance, bringing a sense of ritual into the museum. It was inspired by Lee Mingwei's experience of visiting ancient temples in Myanmar, where paths leading to temples are swept by volunteers."
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Visit our linkin.bio for more information!
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Slide 1:
Lee Mingwei, Our Labyrinth, 2015-ongoing. Performance view at The Metropolitan Museum of Art, New York, 2020. Photo © Stephanie Berger
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Slide 2: Lee Mingwei's "Mending Project" (2009) during our Lombard-Freid days. "Mending Project" is an interactive conceptual installation that uses the gesture of mending to explore ideas of trust and intimacy between strangers.
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Congratulations to Yuko Mohri ( ) on her solo exhibition, "I/O," currently on view at Lydgalleriet, an exhibition platform for sound art and sound related practices, located in Bergen, Norway. On view through July 3.
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"In Yuko Mohri's sculptural installation I/O, paper rolls move slowly, picking up dust and other particles from the gallery space. This particular debris attaches itself to the rollers, which then are scanned and converted to random electronic input-output signals."
Visit our linkin.bio for more information!
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Image: (installation detail) of Yuko Mohri's "I/O" . Image courtesy of

Squeak Carnwath "Silence", 2022 Oil and alkyd on canvas over panel 30 × 30 in . #toomanygunsinthiscountry

Watch this reel by janelombardgallery on Instagram Charlie Peacock • Dance Magnificat