Previous Exhibitions - Koehnline Museum of Art

Myungah Hyon integrates printmaking, body art and installation art to create a dialogue between herself and the viewer in order to provoke a personal emotional response. This particular interest in communication derives from events in Hyon’s life that took her from South Korea to Canada and later to the United States.
Hyon’s initial drive to communicate springs from a cultural gap, but it is important to note that the only clue to her heritage is the shape of her eyes in just one of the works included here. This gives the installation a powerfully broad and universal resonance. (From the catalog's introduction)

In my experience, all recent works by Myungah Hyon are intentionally left untitled. Or, perhaps I should say they are purposely given the designation of “Untitled” to avoid specificity. Hyon’s work explores identity and mines the territory of cultural duality. Therefore, her lack of titles helps to further her quest and leaves open all issues of identity not communicated through the images.

This exhibition at the William A. Koehnline Gallery presents the highlights of the Koehnline's Ernst collection. The show emphasizes the relation of the artist to science and nature and demonstrates Ernst's innovative techniques.
Max Ernst (1891-1976) participated in two important movements in modern art history: Dada and Surrealism. He also developed two significant techniques, collage and frottage, that gave new options to artists. Historians suggest that as a self-taught artist, Ernst's lack of formal training allowed him the freedom to explore new and unconventional techniques to accomplish his artistic goals. In exploring unique applications, Ernst behaved somewhat like a scientist, except that his investigations of science and nature were not undertaken objectively, but through personal psychological analysis.

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