“An Inherent View of the World” by Juana Valdes to be acquired by the Perez art museum

We are thrilled to announce that Juana Valdes‘ “An Inherent View of the World” has been purchased by the Pérez Art Museum in Miami, FL. This installation was on exhibit at the gallery October 23–December 11, 2015. Please join us in congratulating Juana, and read more about her work below. Mindy Solomon Gallery will be featuring a solo exhibition of Juana’s work at Zona Maco in Mexico City, where she continues to explore the idea of object as metaphor for history and identity.


Multi-media installation artist Juana Valdes uses her training in Western post-modern philosophy, printmaking, photography, sculpture and ceramics to explore issues of transculturation, pigmentocracy, history and memory. In the past, Valdes worked with maps, ships and sailing motifs to investigate the complexities of identity in the face of shifting national/political borders as well as the history of human migration. More recently, Valdes began working with bone china porcelain, traditionally distinguished and valued for its whiteness and translucency and documented as an important commodity in the history of trade between Europe and Asia. By inserting pigments during fabrication into the clay and manipulating its chemical composition, Valdes created artworks which serve as metaphors for the mythology of whiteness in our society. In the current project on view, Valdes encourages us to ponder the history of global trade and colonialism by presenting a monumental installation of vintage china and domestic wares she has collected from antiques shops, flea markets and estate sales/auctions.


The business of selling and trading china has been intrinsically tied to European
overseas expeditions and transmigrations, and the first public company to issue
negotiable shares – and the model for many of today’s corporations – was a Dutch
trading company created in 1602 for selling china from Asia to European countries. The
Dutch East India Company’s hugely successful trade with Asian countries made the
Dutch a major global commercial trader and led to the formation of other trading
companies eager to participate in the highly profitable business. Over time, new
industries resulted when European companies began manufacturing domestic china and
many Asian companies likewise arose to produce china specifically for European export.
Valdes displays examples of china made in different countries and time periods, and
each piece embodies the cultural values of its time/place, reflecting aesthetic and
economic decisions made by the manufacturer and by consumers. Not to be forgotten in
this economic chain of activities is the woman who purchased these domestic wares to
be used by her family, and Valdes invites us to think about how the design and
decorative patterns on plates, cups and other pieces of china often provided children in
these households with their first aesthetic experience.

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Not surprisingly, all this historic economic activity included constantly searching for
competitive business advantages, especially the advantage gained when entities can take
resources without paying for them. Colonialism, a natural offshoot of global trading, has
resulted in skewed racial relationships between lighter-skinned people and the darkerskinned
— with profound consequences that impact us today. By presenting this
Duchampian artwork created with the collection and arrangement of seemingly simple
domestic wares, Valdes offers us an opportunity to engage with and re-examine the
myriad issues available here: globalization, hybridization, economics, labor production,
cultural identity, migration, valuation, aesthetics, collecting, selling, women’s history and
even the possibilities of art.

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Ali Smith featured at Carnegie Art Museum

Ali Smith // Half-Life, 2007, oil on canvas, 84 x 130 inches

Ali Smith // Half-Life, 2007, oil on canvas, 84 x 130 inches

Ali Smith is currently featured in the group exhibition “Art for Art’s Sake: Selections from the Frederick R. Weisman Art Foundation” curated by Billie Milam Weisman, on view at the Carnegie Art Museum in Oxnard, CA from December 11, 2016 – February 19, 2017.

“This exhibit explores the potentials of abstraction. It features over forty, primarily young American artists that expand upon the conventions of modern art to create lush works revealing an interest in subjective, transcendental and visionary experiences.”

Ali’s work for the exhibition is also spotlighted in the museum’s ad in the January/February issue of Artltd—an impactful issue as it will be distributed by the publisher at the LA and Palm Springs Art Fairs.

“It’s a dynamite exhibit and your painting is literally a large part of it. Thank you!”
-Suzanne Bellah, Carnegie Art Museum/Oxnard

Jiha Moon Receives Atlanta Artadia Award

Please join us in congratulating gallery artist Jiha Moon as one of the two recipients of Artadia’s 2016 Atlanta Award. Moon will recieve $10,000 in unrestricted funds as well as access to the ongoing benefits of the New York-based program.

“Jiha Moon does maximalism in the best way, saturating her painting and ceramics with signs and symbols that go in many exciting directions,” said Katherine Jentleson (Merrie and Dan Boone Curator of Folk and Self-Taught Art, High Museum of Art). “The source she draws on, from Southern face jugs to Korean norigae are so diverse, allowing for work that is both humorously and seriously engaged in confrontations with the absurdity of our globalized, hyper-technologized society and the many cultural misunderstandings it nurtures.”

Jiha Moon, Anang, 2015, earthenware, underglaze, glaze, wire, synthetic hair, plastic barrette, 14.5 x 12 x 4.5 inches

Jiha Moon, Anang, 2015, earthenware, underglaze, glaze, wire, synthetic hair, plastic barrette, 14.5 x 12 x 4.5 inches

“Jiha Moon is in a perpetual state of “other” as she mines numerous histories and cultures, distilling them into rascally works of art. There is no filter, just a quirky mix matching flurry of references. Mischievousness, rebelliousness, Jiha is the Bart Simpson of our scene and she perfectly exemplifies the new Atlanta.” – Daniel Fuller, Curator of Atlanta Contemporary

This is the fourth time the bi-annual awards have been presented in Atlanta. This year, over 188 applicants living in the Greater Atlanta area submitted.



Jiha Moon // Like 2015, 58 x 42 inches, Ink and Acrylic on Hanji

Jiha Moon // Like
2015, 58 x 42 inches, Ink and Acrylic on Hanji

Ernesto Garcia Sanchez Bridges the Cuban-American Gap at Mindy Solomon

Get to know gallery artist Ernesto Garcia Sanchez in this in-depth interview article from Miami New Times; exploring his methods, influences, and his view on Cuban vs. American abstractionism. We are honored to host his first stateside solo show, “Schemes, ” on view through October 22 at the gallery.

// Read the full article here.
// Read more about “Schemes” here. 
“Schemes” is on view through October 22nd.

“At a time when U.S.-Cuban relations are on the mend, García Sánchez’s story is one of international connections: He has benefited from Cuban and American influences and friendships on his way to this moment.”

Ernesto Garcia Sanchez // Untitled Nr. 3 2016, 25 x 49 inches, Acrylic and graphite on wood

Ernesto Garcia Sanchez // Untitled Nr. 3
2016, 25 x 49 inches, Acrylic and graphite on wood

Linda Lopez Featured in CLAY: Contemporary Ceramic Artisans

Please join us in celebrating the work of Linda Lopez featured in the newly released book “CLAY: Contemporary Ceramic Artisans.” The Author, Amber Creswell Bell, “offers a glimpse into the lives and practices of over 50 studio potters from around the world. This is a celebration of the new pottery artisans; a snapshot of a moment of resurgence; and a behind-the-scenes look at the unique and eclectic offerings from independent studios from around the world.”

The book is officially available October 1st, and can be purchased online here.


William Pachner at 101

At 101 years-old, my father, William Pachner, is a very busy man. Interest in his work remains high in New York and I thought I would take a minute to update you on a couple of recent exhibitions that have featured his work.

At present, his work is included in a special exhibit, “Byrdcliffe’s Legacy: Handmade in the 20th Century (An Ode to Nature & Place)” at the Byrdcliffe Kleinert/James Center for the Arts (36 Tinker Street in Woodstock, NY). This exhibit will be on display from August 20-October 9, 2016.


Established in 1902, the Byrdcliffe Arts Colony was an important force the Arts and Crafts Movement in America. The Colony supported self-sufficiency, fulfillment in work, and the preservation of local crafts. The work in this exhibit illustrates the fine art and design accomplishments by selected artists and artisans who lived and worked in the Hudson Valley between 1903 and 1999. As makers of paintings, prints, photographs, weavings, ceramics, furniture, metal, jewelry and decorative art, the artists in this show produced work aligned with Byrdcliffe’s original pursuit of inspiration from nature and commitment to raising awareness of innovative, high-quality handcrafted work. In addition to William Pachner’s paintings, this exhibit also includes work by such renowned artists as Philip Guston, Yasuo Kuniyoshi, Milton Glaser, George Bellows, Mary Frank, Doris Lee, Judy Pfaf, Carl Walters, George Ault, Robert Chanler, William Hunt Diedrich, and Robert Ebendorf.

This spring, my father was honored at the opening of an exhibit, “The Roosevelt Collection,” at the Franklin Delano Roosevelt Presidential Library and Museum in Hyde Park, NY. His illustration of President Roosevelt, which appeared on the cover of Collier’s magazine on January 27, 1945, was prominently featured at this show. On the invitation of the director of the FDR library Paul Sparrow and Laura Roosevelt, the granddaughter of FDR, he returned to the FDR Presidential Library and Museum this summer for its 75th anniversary celebration.

-Ann Pachner

>> See more William Pachner at Mindy Solomon Gallery <<



Jeremy Chandler’s ‘Spotted at First Light’ featured in Miami Art Guide

There’s still time to experience Jeremy Chadler’s ‘Spotted at First Light,’ on view through March 19th. Recently featured in Miami Art Guide, the platform describes the series as work that “repurpose methods utilized by hunting and military culture, converting otherwise weaponized techniques into benign aesthetic devices, through ways of storytelling.”

>> Read the full article here. 

Jeremy Chandler // Untitled 2015 46 x 57.5 inches Archival Ink-jet Print

Jeremy Chandler // Untitled
46 x 57.5 inches
Archival Ink-jet Print

Jeremy Chandler // Self-Immolation Test 2015 57.5 x 46 inches Archival Ink-jet Print

Jeremy Chandler // Self-Immolation Test
57.5 x 46 inches
Archival Ink-jet Print