Janet Taylor Pickett in the Traveling Museum Exhibitions

HHammonds House Museum

The traveling exhibition Sacred Space: A Brandywine Workshop and Archive Print Exhibition is organized by the Fairfield University Art Museum (FUAM)  and curated by guest curator Juanita Sunday. This exhibition draws on the rich history of the Brandywine Workshop and Archives, founded in Philadelphia in 1972 by artist Allan Edmunds. Drawing inspiration from the rich tapestry of Afrodiasporic and Indigenous cultures, the exhibition engages with the artworks as catalysts for personal introspection and collective dialogue, prompting questions about our place in the universe, our relationships, the significance of our histories, and the transformative power of spiritual connection.

TRAVELING VENUES

Fairfield University Art Museum, Fairfield, CT (September 21 – December 21, 2024)

Hammonds House Museum, Atlanta, GA (January 13 – June 22, 2025)

Northern Illinois University Museum, DeKalb, IL,  (January 14 – February 21, 2026)

Brandywine Workshop & Archives, Philadelphia, PA  (May 15 – August 15, 2026)

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TRANSPACIFIC: LOVE DIFFERENCE

TRANSPACIFIC: LOVE DIFFERENCE September 3 – November 2, 2024 HANNAM, SEOUL

TRANSPACIFIC: LOVE DIFFERENCE

September 3 – November 2, 2024

JENNIFER BAAHNG Hannam

21-18 Hannam-daero 20-gil

Yongsan-gu, Seoul

South Korea 04419

IN THE ATRIUM

VOID IN WRITING

September 3 – November 2, 2024

JENNIFER BAAHNG Hannam

21-18 Hannam-daero 20-gil

Yongsan-gu, Seoul

South Korea 04419

In celebrating its 20th anniversary, JENNIFER BAAHNG is making a significant mark. The gallery is opening its first Asia galleries, in Seoul, featuring TRANSPACIFIC: Perfect Lovers and Love Difference. This exhibition, presented in two parts at two locations, is a testament to two decades of artistic excellence. It showcases over a hundred boundary-leaping, subtle, playful, and political works presented by a diverse group of twelve artists and one poet, each with their own unique perspective. Perfect Lovers, opening September 5 at JENNIFER BAAHNG Gangnam, is an intimate space of vast intrigue, debuting polyphonic collectives of love, alienation, and the absurdism of ideal love. Love Difference, opening September 3 at JENNIFER BAAHNG Hannam, explores creative differences, alluding to Manet, Warhol, and the art of loneliness. While New York is its home, JENNIFER BAAHNG is expanding its horizons, pivoting to the Pacific to share expertise and resources to develop the collective in Contemporary Art.

Perfect Lovers, installed in the Gangnam district of Seoul, attends to splendid superficiality and yields a rich psychological weave. It is refreshingly sensuous and seeks flexible interpretations: Rather than assert an identity or contest a social order, Kevin Melchionne steps into an imaginary space he aspires to but cannot fully inhabit; Jaye Moon reworked Félix González-Torres’s “Perfect Lovers” with a clock face in numerical Braille; the celebrated Mr. repurposed a found snowboard with iconic Japanese manga adolescent couples; quandaries of love are seen through the prism of the omnipotent Picasso; stories in first-person narrative are found in Janet Taylor Pickett’s “Pride and Insouciance.” TRANSPACIFIC: Perfect Lovers takes on the confines of adorning life.

Love Difference, installed in the Hannam district of Seoul with a palette of soft concrete in tandem with stark white walls with rich tonal nuances, presents clashing, flourishing, and playful works with a contemporary edge, a material wonder. While the installation feels ethereal, the format lends itself to a vivid, grand fantasy of love: R.C. Baker uses a copy of The Velvet Underground & Nico, in “Holy of Holies,” for which Andy Warhol was credited as the album’s producer; Brandon Ballengée’s “Frameworks of Absence” meticulously embodies the extinct species’ haunting absence; John Cage, a leading figure of the post-war avant-garde, is featured through a set of thirteen Ryoku, created with the principles of an ancient Chinese divination text, the I Ching; going beyond collaboration to a kind of conspiratorial imagination, Laura Bell and Ian Ganassi’s “The Corpses” has evolved into more than two decades of personal and material call-and-response, with a new batch of collages usually in progress or transit; Ru Marshall’s iPhone photo of a bodega in Brooklyn captures fleeting inquiries of interactive perception; Björn Meyer-Ebrecht’s old book covers are raising expectations, holding authority, hiding secrets, and promising a visionary spirit—remnants from the proverbial “junkyard of history”; Jaye Moon’s “Get That Money” uses 9,216 Lego bricks to reconstruct K-Rap lyrics by Okasian into Braille in number codes; in Janet Taylor Pickett’s “The Liminal,” a voice chimes with Manet’s Olympia. TRANSPACIFIC: Love Difference reminds us that love is all-inclusive.

Yooah Park’s “Void in Writing” is installed in the ATRIUM in Hannam. The piece is a sculptural mobile made of laser-cut stainless steel suspended by piano strings, soaring 20 feet tall and cascading to the floor. This monumental presentation intrigues and piques the audience’s desire to walk around and contemplate it, enriching TRANSPACIFIC’s rich tapestry of contemporary art.

TRANSPACIFIC embarks on a tour, cites the intricacies, and amps up the romance, love, and deliberate insouciance. Playing out riotously in the soul and body of each work in myriad ways, the exhibition sets up methodical beats so that every work resonates. The show moves forward in a vibrant, varied way that brings different perspectives to the tenets of the unexpected. With sensuality and drama, Perfect Lovers is the good, the mad, and the quirky brought together into fantastical stories. Love Difference is profoundly thoughtful and cleverly argued. JENNIFER BAAHNG’s inaugural exhibition in Asia, TRANSPACIFIC, is a tale of love, in two cities, in Seoul.

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TRANSPACIFIC: PERFECT LOVERS

GANGNAM, SEOUL PERFECT LOVERS August 16 - October 19, 2024

TRANSPACIFIC: PERFECT LOVERS

September 5 – October 19, 2024

JENNIFER BAAHNG Gangnam

20 Seolleung-ro 119-gil

Gangnam-gu, Seoul

South Korea, 06100

In celebrating its 20th anniversary, JENNIFER BAAHNG is making a significant mark. The gallery is opening its first Asia galleries, in Seoul, featuring TRANSPACIFIC: Perfect Lovers and Love Difference. This exhibition, presented in two parts at two locations, is a testament to two decades of artistic excellence. It showcases over a hundred boundary-leaping, subtle, playful, and political works presented by a diverse group of twelve artists and one poet, each with their own unique perspective. Perfect Lovers, opening September 5 at JENNIFER BAAHNG Gangnam, is an intimate space of vast intrigue, debuting polyphonic collectives of love, alienation, and the absurdism of ideal love. Love Difference, opening September 3 at JENNIFER BAAHNG Hannam, explores creative differences, alluding to Manet, Warhol, and the art of loneliness. While New York is its home, JENNIFER BAAHNG is expanding its horizons, pivoting to the Pacific to share expertise and resources to develop the collective in Contemporary Art. 

Perfect Lovers, installed in the Gangnam district of Seoul, attends to splendid superficiality and yields a rich psychological weave. It is refreshingly sensuous and seeks flexible interpretations: Rather than assert an identity or contest a social order, Kevin Melchionne steps into an imaginary space he aspires to but cannot fully inhabit; Jaye Moon reworked Felix Gonzales’s “Perfect Lovers” with a clock face in numerical Braille; the celebrated Mr. repurposed a found snowboard with iconic Japanese manga adolescent couples; quandaries of love are seen through the prism of the omnipotent Picasso; stories in first-person narrative are found in Janet Taylor Pickett’s “Pride and Insouciance.” TRANSPACIFIC: Perfect Lovers takes on the confines of adorning life.

Love Difference, installed in the Hannam district of Seoul with a palette of soft concrete in tandem with stark white walls with rich tonal nuances, presents clashing, flourishing, and playful works with a contemporary edge. While the installation feels ethereal, the format lends itself to a vivid, grand fantasy of love: R.C. Baker uses a copy of The Velvet Underground & Nico, in “Holy of Holies,” for which Andy Warhol was credited as the album’s producer; Brandon Ballengée’s “Frameworks of Absence” meticulously embodies the extinct species’ haunting absence; John Cage, a leading figure of the post-war avant-garde, is featured through a set of thirteen Ryoku, created with the principles of an ancient Chinese divination text, the I Ching; going beyond collaboration to a kind of conspiratorial imagination, Laura Bell and Ian Ganassi’s “The Corpses” has evolved into more than two decades of personal and material call-and-response, with a new batch of collages usually in progress or transit; Ru Marshall’s iPhone photo of a bodega in Brooklyn captures fleeting inquiries of interactive perception; Björn Meyer-Ebrecht’s old book covers are raising expectations, holding authority, hiding secrets, and promising a visionary spirit—remnants from the proverbial “junkyard of history”; Jaye Moon’s “Get That Money” uses 9,216 Lego bricks to reconstruct K-Rap lyrics by Okasian into Braille in number codes; in Janet Taylor Pickett’s “The Liminal,” a voice chimes with Manet’s “Olympia.” TRANSPACIFIC: Love Difference reminds us that love is all-inclusive.

Yooah Park’s “Void in Writing” is installed in the ATRIUM in Hannam. The piece is a sculptural mobile made of laser-cut stainless steel suspended by piano strings, soaring 20 feet tall and cascading to the floor. This monumental presentation intrigues and piques the audience’s desire to walk around and contemplate it, enriching TRANSPACIFIC’s rich tapestry of contemporary art.

TRANSPACIFIC embarks on a tour, cites the intricacies, and amps up the romance, love, and deliberate insouciance. Playing out riotously in the soul and on the body of each work in myriad ways, the exhibition sets up methodical beats so that every work resonates. The show moves forward in a vibrant, varied way that brings different perspectives to the tenets of the unexpected. With sensuality and drama, Perfect Lovers is the good, the mad, and the quirky brought together into fantastical stories. Love Difference is profoundly thoughtful and cleverly argued. JENNIFER BAAHNG’s inaugural exhibition in Asia, TRANSPACIFIC, is a tale of love, in two cities, in Seoul.

WATCH THE VIDEO

Janet Taylor Pickett is included in Century: 100 Years of Black Art at MAM

Janet Taylor Pickett included in Century: 100 Years of Black Art at MAM February 9 to July 7 2024

Janet Taylor Pickett is included in Century: 100 Years of Black Art at MAM

Century: 100 Years of Black Art at Montclair Art Museum

February 9 – July 7, 2024

“Century is organized around six major themes highlighting how art has long been a living, generative force in Black life. We  explore the importance of Black Portraiture over the past hundred years and its central role in the project of crafting Black identities while subverting reductive, often racist, portrayals of Blackness. African Diasporic Consciousness brings together objects that work explicitly and implicitly to transmit cultural values, practices, symbols, and philosophies that have persisted and thrived across vast distances from a shared homeland. Archival Memory considers the capacity of objects—constructed, found, or reimagined—to document and preserve this consciousness.”

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STAMPS interviews Janet Taylor Pickett: History and Artistry

stamps school of art & design

STAMPS School of Art & Design at the University of Michigan published

Janet Taylor Pickett: History and Artistry

September 25, 2023

“If you want to get to know renowned artist Janet Taylor Pickett, look no further than her artwork, which is informed by her personal and shared history.  ‘Everybody has a story to tell,’ Taylor Pickett said. ‘The paintings, the mixed-media, the fabric works… my past informs all of it somehow. It’s part of who I am. No matter what I chose to do, my history would be imbued into it one way or another.’  Taylor Pickett’s history is firmly rooted in Ann Arbor, Michigan. As part of the third generation in her maternal family raised in the city, Taylor Pickett received her BFA from the University of Michigan in 1970 and her MFA in 1972. She is recorded as one of the first Black students to receive a BFA and MFA at U‑M.  Taylor Pickett reflects on her rich history and U‑M experience as a celebrated artist.”

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Janet Taylor Pickett is featured at the Denver Museum

DENVER ART MUSEUM

“And, She Was Born” by Janet Taylor Pickett is included in the upcoming All Stars: American Artists from The Phillips Collection, from November 12, 2023 to March 3, 2024 at the Denver Museum.

All Stars: American Artists from The Phillips Collection

November 12, 2023 – March 3, 2024

Denver Art Museum

https://www.denverartmuseum.org/en/exhibitions/all-stars-american-artists-phillips-collection

This landmark works encompass more than 140 years of unexpected visual conversations between American artists about what connects us as humans. With works by more than 50 artists, including Benny Andrews, Arthur G. Dove, Childe Hassam, Jacob Lawrence, Georgia O’Keeffe, Jackson Pollock, and more, the show explores American art from the birth of the modernist spirit at the end of the nineteenth century through post-war American painting in the mid-twentieth century and into the twenty-first century, with artists exploring the important issues of today.

The Work:

Janet Taylor Pickett

And, She Was Born, 2017

Acrylic, collage on canvas

30 x 30 in.

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Janet Taylor Pickett is featured in “For the Culture, By the Culture: 30 Years of Black Art, Activism, and Achievement” at the Morris Museum

Morris Museum

Janet Taylor Pickett is featured in the “For the Culture, By the Culture: 30 Years of Black Art, Activism, and Achievement” exhibition at Morris Museum in New Jersey, from May 25 to September 25, 2022.

 

Jennifer Baahng Gallery artist Janet Taylor Pickett’s three works – Melancholy & Memory (2021), Memory of Water II (2021), and Memory of Water III (2021) – are featured in Art in the Atrium’s thirtieth-anniversary exhibition For the Culture, By the Culture: 30 Years of Black Art, Activism, and Achievement at the Morris Museum in Morristown, NJ.  This exhibition is a group retrospective that spans 30 years and highlights established Black artists who have contributed to Black culture by creating impactful works for decades.  The exhibition will run from May 25 through September 25, 2022.   For the Culture, By the Culture showcases 41 works by 19 selected artists: Alonzo Adams, Benny Andrews, Bisa Butler, Leroy Campbell, Elizabeth Catlett, Viki LeBeaux Clark Craig, James Denmark, David Driskell, Jerry Gant, Richard Haynes, Norman Lewis, Russell A. Murray, Rosalind Nzinga Nichol, Janet Taylor Pickett, Faith Ringgold, Joe Sam, Cedric Smith, William Tolliver, and Deborah Willis.  This exhibition is curated by Charles D. Craig, Nette Forne’ Thomas, Onnie Strother with Michelle Graves, Managing Curator, Morris Museum.

For More Information:
https://morrismuseum.org/events/for-the-culture-by-the-culture/

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Janet Taylor Pickett is included in “Prints from the Brandywine Workshop and Archives: Creative Communities” exhibition at Harvard Art Museums

Harvard Art Museums

“Prints from the Brandywine Workshop and Archives: Creative Communities”

March 4, 2022–July 31, 2022

Harvard Art Museums 

This exhibition marks the first presentation of a group of works acquired in 2018 by the Harvard Art Museums from the Brandywine Workshop and Archives, which is a nonprofit cultural institution that produces and shares art to connect, inspire and build bridges among global communities.  Comprising prints and proofs by nearly 30 artists, the acquisition itself was a cooperative effort between curators and other museum colleagues, as well as Harvard students and professors, who selected works that highlight collaboration and innovation.  Artists in the exhibition: Pedro Abascal, Danny Alvarez, John Biggers, Andrea Chung, Louis Delsarte, Allan Edmunds, Rodney Ewing, Sam Gilliam, Simon Gouverneur, Sedrick Huckaby, Hughie Lee-Smith, Ibrahim Miranda, Tanya Murphy, Kenneth Noland, Odili Donald Odita, Janet Taylor Pickett, Howardena Pindell, Robert Pruitt, Faith Ringgold, Betye Saar, Eduardo Roca Salazar, Juan Sanchez, Clarissa Sligh, Pamela Phatsimo Sunstrum, Hank Willis Thomas, Larry Walker, Stanley Whitney, Deborah Willis, and Murray Zimiles.

Images: Courtesy of Harvard Art Museums; © President and Fellows of Harvard College.

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Janet Taylor Pickett’s “Hagar’s Dress” is on view at Telfair Museums

telfair museums
Janet Taylor Pickett’s Hagar’s Dress, 2007, is on view at the Contemporary Spotlight: New Acquisitions from the Brandywine Workshop exhibition at the Telfair Museums from February 4 – May 1, 2022.
The exhibition is an opportunity to celebrate Telfair Museums‘ recently acquired lithographs by Black artists.  This acquisition moves the museum forward in its long-term goal of diversifying the collection and highlighting the works of underrepresented artists and narratives.  Other than two works by noted Georgia-born painter Benny Andrews, these compelling works on paper were created by significant female artists – Faith Ringgold, Deborah Willis, Emma Amos, Selma Burke, Sonya Clark, Gwendolyn Knight, Samella Lewis, Janet Taylor Pickett, Howardena Pindell, Alison Saar, Betye Saar, and Lorna Williams.  Created in the late 20th century and 21st century, these works cover a wide range of timely themes, including the legacies of slavery and racism in the United States, spirituality, education, womanhood, and nature.  They also effectively illustrate the visual, social, and political scopes of the powerfully versatile medium of printmaking.
Images: Courtesy of Telfair Museums

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ARTnews: Janet Taylor Pickett’s Moment to be Seen at Jennifer Baahng Gallery

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