Gallery Max New York

PAST EXIBITIONS

upcoming exibition

Majnun Party 3
Spiritual experimental music based world traditional music.

September 15, Friday
Doors 6:00pm / Music start 7:00pm

Welcome snacks and drinks. :)
Cover: Donation recommended

Artists:
Bettina Sheppard : Celtic inspired music by Welsh-American artist.
About Bettina Sheppard : Singer, Composer, Author, Vocal Instructor, Faculty at CCNY, Artistic Director of SAVA(Sheppard Academy of Vocal Arts )
www.sheppardacademy.org

Harry Einhorn : Improvising on buddhist mantras and songs based on hindustani classical music.
About Harry Einhorn : Vocalist, multidiscliplinary performer
www.harryeinhorn.co
www.samadhiarts.net

Lulla LayLa : Psychedelic original folk songs by Japnese artist.
About Lulla LayLa : Singer songwriter, Singer, Composer
www.lullatunes.com

Maria Primaveradejerez : Traditional and fusion world music influenced Flamenco.
About Maria Primaveradejerez : Singer, Singer-songwriter

Matt Chilton : Improvised acoustic noise music as "flutepussy" that reveal the tense complexity within the instrumental and social body.
About Matt Chilton : Multi instruments musician, Composer

Sacha Nielsen : World music influenced devotional music by Handpan.
About Sacha Nielsen : Handpan player, Sound healer, DJ, Digital designer from Switzerland
www.sachanielsen.com

Sid Art : will play Khartal and Tabla with Lulla LayLa.
About Sid Art : The Founder and Teacher of Art of Tabla, Khartal and Surya Records
www.artoftabla.com
www.khartal.com


upcoming exibition

Koharu and 7 Friends

September 5, 2017- September 16, 2017
Time: 11am -6pm (Except September 5, 1pm-6pm)
Opening Reception: September 8, 6:00pm-8:00pm
Live Music: Lulla LayLa, Psychedelic original folk songs by Japnese artist.

The “Rose” artist asked his friend, and the friend talked to her friend and... Now there are 8 artists got together here in SOHO, the heart of New York, to show their idea of what is “peaceful room” and “comfortable space”.

ニューヨークと上海を拠点とする薔薇の作家Koharuが友人に呼びかけた。
「ニューヨークでグループ展やろうよ!」
その友人がその友人に呼びかけ、またその友人に呼びかけた。日本をはじめ、中国、 韓国、ヨーロッパ等で活躍するアーティスト8人。個性豊かな感性あふれる空間を 作り出すアーティスト仲間が今、ここニューヨークのソーホーに集まった。 テーマは「部屋を和やかにする」「心地よい空間を演出」。

Artists:
Koharu小春 http://www.koharuart.com
Isshiki Kunii
Shiro Koseki http://modernart-kyokai.com/shuppin_kaiin.html
Hiroko Kuboki
Shigemi Mukuno http://m-shigemi.jindo.com
Keiko Tsuda
Motomi Tsunoda https://sites.google.com/site/tsunodamotomi/home
Tomomi Watanabe http://tomomi-watanabe.webnode.jp


upcoming exibition

JCAT Show Case in SOHO

July 4, 2017- July 29, 2017
Opening Reception: every Wednesday in during the show.
07/05, 07/12, 07/19, 07/26 16:00 - 18:00

07/04/2017(Tue) - 07/08/2017(Sat) Chika MacDonald, Yoshi, Takahiro KOYAMA, Kiyomi Aritake, Haru, Aya Hosokawa, Seiji Matsumoto, Naoaki Funayama, Kayo Albert, Takuro Hinokio

07/11/2017(Tue) - 07/15/2017(Sat) Ayako Bando, KYOKO HAYAMA, Ai Suzuki, MASARU MATSUI, prodia, NIngshu Fang, Chie Yoshida, Aken, Chris Namaizawa, Monzo Watanabe

07/18/2017(Tue) - 07/22/2017(Sat) Midori McCabe, sato, Yuri Miyamoto, The"U"zing, Akatsuki MIZUHODORI, Catherine・G, ABCD IIIIII, FUMIAKI ASAI, Kiara

07/25/2017(Tue) - 07/29/2017(Sat) TOMOYA ONOUE, youme, Kumi Hirose, Jun Kawashita, Ai Hibino, Takaaki MANO, Kohana, towoji honojiro, Yoko Iogawa, KAYANO USHIYAMA

works by members of the JCAT http://www.jcatny.com


upcoming exibition

Off Center

June 27, 2017 - July 1, 2017
Opening Reception: Jun 27th, 6:00pm-8:00pm

“Off center” is not congruent with misplacement, denial, or going astray.

Being off center means making choices consciously, targeting towards a direction subjectively, being inclined towards a certain angle, or brainstorming in a way that departs from what is traditional.

Being off center is a shared experience in a variety of disciplines of mankind.
Whether it be a success or a failure, the attempts and experiments in the end would become new discoveries.

The artists in this exhibition deliver on purpose unconventional approaches and media, attempting to break through the fetter of their existing methodologies.

Curator​: Yangxingyue Wang

Artists: Caison Wang, Siyuan Tan, Yibo Xu, Wanying Liang, Tianming Liu, Jinyao Yuan, Ke Ma, Emma Yi


Wanying Liang I am a ceramic artist from China. Now I just finished my first school year at the MFA program of Alfred University. After coming here, I started to think about labor issues, both in China and in the US. In my work, I am trying to present the dream of a worker in a big city, more specifically, a migrant worker from another country or countryside. In this dream, what unfolds is not merely sweetness or misery, but several different feelings that are mixed together—curiosity, excitement, scare, anger, pain, and harshness everywhere. I am caring about how people survive in society in the context of globalization in which products hold more importance than labor.

Tianming Liu If painting is a visual language system comprised of of iconic signs, then the differences and variations of those elements form the whole meaning of it. In the Greek mythology, the warriors in the battleship Argo replaced its every single component. As a result, they finished their trip with a brand new battleship without changing its name or structure.
To me, what is interesting about a painting is that, if it exists, it would be a process or a result of a system being replaced with parts but nothing about image, symbols or an intention to represent something. Squares, they are flat, simple, isolated, geometrically reduced, organized, sequential, and anti-natural/imitation to realistic stuff. They drive out from space and exist as single flat surfaces. As a form of system, squares accommodate the variations of visual arts: movement and stagnation, figure and ground, fold and unfold, and consciousness separated or separating itself from the realistic world.

Ke Ma The first three months in New York were much tougher than I thought. Since I am the only child in my family, my parents really catered to my needs and helped me through different periods of my life. Once I arrived here, however, I felt very lonely in my struggles with both school and other issues in my life. Feeling very negative towards the New York City and myself in general, I wanted to hide somewhere far away from reality.
Since I knew I had to get over these feelings, I tried to figure out different ways to solve my problems, as well as changed myself to adapt to this new environment I was in. I focused on having a positive mentality and looking forward to the future. I think during this time I really grew up and found myself. The series of images in this work were inspired by the unhappy feelings I used to have, and now they have helped me push through and feel better about being away from home.
The works are mostly in black, and I use a projector to cast different patterns onto the model’s skin as she moves. I want the images to look very graphic, surreal and emotional. I think they are ambiguous and I feel that the mystery around the process highlights my confused emotions about my navigation in life.

Siyuan Tan My current practice focuses on the globalized nomadism, of which the core proposition is to bridge the real space and the virtual space. My childhood memory has played an important role in the development of this inquiry. My hometown is located in a city northeastern of China, famous for its coal production. Since a little kid, I have been knowing that there were people mining coal under the city, and always trying to imagine that space—invisible but present. Gradually, I realized that spaces could be divided.
I majored in sculpture in college. During the training, an armature was built and covered with clay; a mold was then made, with materials poured in and fired until the final work was completed. The body that once occupied the real space disappeared after the molding process, replaced by a new volume, consisting of the void inside and the solid outside. The whole process was about shaping a new space over time.
In general, my research and practice have always been focusing on how connections can be built across different seemingly separated spaces, with an attempt to expand the boundaries of our cognition, liberate human’s abyss of thinking and feelings, and carry out a dialogue with time and space beyond the scope of the universe and history.

Caison Wang I was born in Guangdong China in the early 1990s. Now I am an installation and mix media artist working and living in Atlanta, US. I gained a MFA degree in sculpture from Savannah College of Art and Design. Based on the issue and background of my family, my practice always employs an individual experience or a social event as the starting point to discuss the social-realistic mental status, beliefs, and the living conditions of the working class.
Since 2015 when I first came to the US, my inquiry has extended to the status of the redistribution of resources in the new world. Though 3D modeling, animation, and different other materials, I restored the virtualized, symbolic scenes in my project. Red, black, and gold work as the main colors in my project. The words “limitation,” “struggle,” and “strike” are key to my practice and reflect the social status around the current world.

Yibo Xu In 1960, Norbert Wiener, the “Father of Cybernetics,” published a short essay entitled “Some Moral and Technical Consequences of Automation.” Wiener pointed out that, in 1960, machines, if not hazardous, had become extremely effective, since some of them possessed “a certain degree of thinking and communication,” which “transcend some of the limitations of their designers.” Based on the theory of cybernetics, Wiener put forward an assumption in which learning machines were used to program the pushing of the button in a new push-button war. He said, “if the rules for victory in a war game do not correspond to what we actually wish for our country, it is more than likely that such a machine may produce a policy which would win a nominal victory on points at the cost of every interest we have at heart, even that of national survival.” The machine “evolves” so rapidly that we have gradually lost our predominant power. Just as the early predictions that Samuel Butler depicted in his novel, machine might take over the control of mankind.
The development of technology led to the industry revolution. The paradigm shifts made in a variety of disciplines during the 1960s and the 1970s awakened in the human society a new sense of awareness of the relationship between mankind and machine and also resulted in a rift in the traditional value system. To bridge this rift, we have to constantly balance between the human and the machine as well as the human and technology. I would like to conclude with the “three laws” in Runaround by Isaac Asimov in 1942. Perhaps at the moment, the only thing we could do before knowing what to come in the future is to strive to make the right rules.

Emma Yi I make films, videos, photos, and new media artworks. I am currently studying in the Digital and Interdisciplinary Art Practice MFA program at The City College of New York. With a bachelor’s degree in Literature of Film, Television and Theater and a master’s degree in Communication Studies, my ideas are multidisciplinary and grounded in different fields, such as sociology and anthropology. Utilizing and de-familiarizing crucial moments of everyday life as materials of artistic practice, my works are often conceptual, including conflicts inherent to human nature, functions of objects, hidden power, and social construction, which are based on post-structural theory. Many of my time-based works are episodic, containing different characters: most of whose narratives parallel yet correlate one another in a spiritual way.

Jinyao Yuan Usually wandering in streets of the city, I love to capture details that are nature to life. What I enjoy is to get busy searching for the self-consciousness of each individual as well as the meaning of life. Over the years, I have been dedicating myself to black and white images that emotionally depict a world half real and half imaginary. Since 2012, my work transformed the digital into film, and recently, I started to use large format cameras and employ traditional techniques of photography.
I always feel overwhelmed when thinking of how the world has become what it looks like now, from dust to the emergence of life and to modern civilizations. How did everything start? When I was standing on the top of the Stone Mountain, a monolith that formed 300 million years ago, I feel like I was on the remains of the Earth’s history. This feeling became stronger when I touched the stone surface, which made me feel that I was connected to the past.
To record this feeling, I went up to the top of the Mountain with a pinhole camera, the simplest and primary one. Through the tiny hole of the camera, a short period of time was collected and stored. The past and the present then united. The blurry figures of people in the photos imply the fleeting existence of human beings. Due to the long exposure, details in the scenes fade out but the feeling of the passage of time surfaces.


upcoming exibition

Behold and Wonder
— The Sublime Beauty of Pearl —

June 13, 2017 - June 24, 2017
Appointment Only

生まれた時から真珠とともに—

上村は確かな養殖技術と天性の発想力で真珠の固定概念を覆し、 世界に真珠の魅力とその可能性を発信し続ける。

真珠を愛し、真珠を知り尽くした一人の男が人生をかけ情熱を 注ぎ続ける作品はたくさんの人を魅了しヨーロッパやアジアなどで 高い評価を得ている。

創業1928年 上村真珠養殖 三代目 上村栄司

Eiji Uemura is a 3rd generation successor of Uemura Cultured Pearls founded in 1928. He inherited the family business and learned farming skills in Ago-Bay, Mie, a prime location for cultured pearls in Japan.

Farming, the power of nature, and a craftsman's skill have a tremendous effect on pearl production. But it is no exaggeration to say pearls are a miracle. Nevertheless, Eiji excels at his skill; therefore, buyers flock to him ahead of other farmers.

Eiji spent a few years as a pearl farmer, before he realized that the cultured pearl industry was on the decline. He wanted to bequeath his great skill and fascination to the next generation so he began a new course of life as a pearl jewelry artist.

Initially, Eiji started with a typical pearl necklace. But as he began visiting many places to learn about traditions and customs both in Japan and abroad, he became inspired by what he saw. With his natural sensibility and fire, he began creating his own unique pearl jewelry.

Eiji never compromises his creativity. Even if he fails on a large scale, he never gives up. Instead, he takes a new approach and accomplishes his goals.


upcoming exibition

Solo Show
Wish You Were Here- Sakura, Tohoku

March, 2017

「花見頃」。東日本大震災3年後の2014年とその翌年2015年に撮影されたもので、昨年7月に発表した作品50点余が展示される。

未曾有の大震災 から2ヵ月近く経ったある日、そこには散乱した瓦礫と、春の光を浴びすべてを包み込むように生き生きと輝いている満開の桜の姿があった。 「実際に満開の桜にカメラを向けたとき、足がふるえ胸がドキドキして、フレームの絵がちゃんと見えない。これは困ったことになった。」桜の華やかさと気高さ、 生命力に圧倒され、どんな感じで写真が撮れるかどうか急に不安になったと藤島は述回する。

それでもあきらめず、以降2年にわたり撮り続けた「東北の桜」。このシリーズの制作にあたり藤島は、桜の開花を追って、福島、宮城、岩手、山形、秋田の東北5県20以上の名所/地域を訪れ数千回のシャッターを切った。

我々が決して忘れてはいけないもの。それを桜が語っているのかもしれない。

http://maxfujishima.com/portfolio_5.html

"The Viewing Season". More than 50 photographs will be displayed in this exhibition this spring again. These were shot between 2014 and 2015 in Tohoku, Japan where the great earthquake hit five years ago. When he stood in front of Sakura cherry blossoms, “my legs were shaking”, he says. And he couldn’t believe Sakura, "was so bright and so energetic" even though the place was hit by a “once in 100 years” disaster. “I wasn’t sure I could photograph them as art,” he recalls.

He didn’t give up. And he visited Tohoku two years in a row, capturing hundreds of timeless and elegant Sakura blossoms. “Maybe we can learn something from Tohoku’s Sakura.” he says.


past exibition

The 4th Annual Photo Exhibition
A Day in New York
第4回年次写真展「ある日のニューヨーク」

December 6, 2016 - January 27, 2017
Reception: Tuesday, December 6, 18:00-20:00

マックス藤島・ひゃくだかずこ・三浦良一
ニューヨーク在住の写真家3人が、日常生活で出会う非凡な一瞬をそれぞれの視点で切り撮った NYの「ある日」を展示する。第4回目となる今年は、本展を主宰するマックス藤島、ひゃくだかずこの 新作に加え、ジャーナリスト三浦良一が撮り溜めた四季折々の風情を集約して発表する。

http://maxfujishima.com/portfolio_6.html

Max Fujishima, Kazuko Hyakuda, Ryoichi Miura
A Day in New York, 2016, is the 4th annual photo exhibition featuring scenic, accidental, humorous, and illusive moments of everyday life captured by three photographers.

"We are not alone" Photo by Max Fujishima / Doll by Nobuko Terada
Curated by: Kazuko Uchida
Live Music at the reception by: Lulla LayLa and Mikey Biskup

Music Collaboration Event "A PARTY OF MAJNUN" : Lulla LayLa, Mikey Biskup Names Mai, Sid Art, Shervin Erfani, Harry Einhorn, Eli Epstein-Deutsch, Will Ruiz, Maria Primaveradejerez Primavera de Jerez And more......

A PARTY OF MAJNUN


past exibition

Musabi-ten 2016 むさび展

November 5 - November 19, 2016
クラフト展: November 15, 11 am - 6 pm

武蔵野美術大学アメリカ支部による第3回「むさび展」。 油絵、アクリルなどの絵画、彫刻、陶芸、写真、デジタルアートなど、26人の卒業生による幅広いジャンルの作品が展示される。12日(土)には、1日限りのクラフト展が催される。陶器、ジュエリー、その他手芸の作家と来場者が接し、作品の制作過程を知ってもらおうという趣向。展示作品の販売も行う。

▼参加作家:花房万紀子、ヘンデル佳奈、深田秀樹、平之内美穂、出石薫、金丸れいこ、木野眞穂、小坂明子、鞍井綾音 、前原邦彦、松原由佳里、神舘美会子、本宮陽子、大野廣子 、奥村光也、奥村泰子、小柳津美香、須田久美子、田川俊利、田中美路、依田寿久 、依田順子、吉田秀樹、遊真あつこ、楠田弓恵、(順不同)

The 3rd Exhibition of Musashoino Art University Alumni Association USA and Crafts Show.


past exibition

J-TALES

October 14 - November 3, 2016
Reception: Saturday, October 15, 3 - 6 pm

名古屋の大同大学プロダクトデザイン専攻の学生14人のJ-TALES民話グラフィック展 ニューヨークで日本の文化を発信することで九州・熊本地震の被災者支援につなげたいという 思いを込めた展示会。

アーティスト: Masataka Banno • Konomi Hayashi • Masami Inagaki Tomoyo Kato • Takeru Kondo • Kouta Matsukubo • Daiko Matsumoto Koki Mizuno • Saya Nagayoshi • Moe Ogawa, Kazushi Otake Yutaro Sasaki • Eri Senshiki • Sayaka Toyama

J-TALES is an exhibition by fourteen product designers at Daido University, Nagoya, featuring the graphic arts based on Japanese folklore. The young designers, with their interpretation to the traditions and stories, regenerate their own aesthetics in paper cutouts and digital print. (images by Tomoyo Kato)


past exibition

Max Fujishima Solo Show
Wish You Were Here-Sakura, Tohoku

Jun 4 -July 29, 2016

今回のテーマは「東北の桜」。東日本大震災3年後の2014年とその翌年2015年に撮影されたもので、未発表作品50点余が展示される。未曾有の大震災 から2ヵ月近く経ったある日、そこには散乱した瓦礫と、春の光を浴びすべてを包み込むように生き生きと輝いている満開の桜の姿があった。

「実際に満開の桜にカメラを向けたとき、足がふるえ胸がドキドキして、フレームの絵がちゃんと見えない。これは困ったことになった。」桜の華やかさと気高さ、生命力に圧倒され、どんな感じで写真が撮れるかどうか急に不安になったと藤島は述回する。

それでもあきらめず、以降2年にわたり撮り続けた「東北の桜」。このシリーズの制作にあたり藤島は、桜の開花を追って、福島、宮城、岩手、山形、秋田の東北5県20以上の名所/地域を訪れ数千回のシャッターを切った。

我々が決して忘れてはいけないもの。それを桜が語っているのかもしれない。

More than 50 photographs will be displayed in this exhibition, and all are unveiled for the first time. These were shot between 2014 and 2015 in Tohoku, Japan where the great earthquake hit five years ago. When he stood in front of Sakura cherry blossoms, “my legs were shaking”, he says. And he couldn’t believe Sakura, "was so bright and so energetic" even though the place was hit by a “once in 100 years” disaster. “I wasn’t sure I could photograph them as art,” he recalls.

He didn’t give up. And he visited Tohoku two years in a row, capturing hundreds of timeless and elegant Sakura blossoms. “Maybe we can learn something from Tohoku’s Sakura.” he says.