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Yoshishige Furukawa - the 1960s dot paintingsYoshishige Furukawa - the 1960s dot paintings


Yoshishige Furukawa

the 1960s dot paintings 


February 3 - March 4, 2017


Yoshishige Furukawa (b. 1921 in Fukuoka, Japan; d. 2008 in Kanagawa, Japan) earned his BFA in painting at the Tokyo School of Fine Arts (now Tokyo University of the Arts) in 1943. He moved to the United States in 1963, and spent the subsequent decades between the United States and his native Japan.

His work is in the collections of the National Museum of Modern Art in Tokyo, the National Museum of Art in Osaka, the National Museum of Modern Art in Kyoto, the Fukuoka Art Museum in Fukuoka, and the Saga Prefectural Art Museum, among others. In the United States, Furukawa’s work has been exhibited in institutions including the Albright-Knox Museum, and during his lifetime he received two grants from the Pollock-Krasner Foundation.




Leslie Smith IIILeslie Smith III


Leslie Smith III

Locus Of Control 


March 17 - April 21, 2017


opening reception

Friday, March 17 (6-8pm)



Maus Contemporary is excited to announce the exhibition Leslie Smith III  Locus of Control, the artist’s second solo exhibition at the gallery.



Locus of Control reconsiders the causal-relationship between my philosophical and social concerns, namely, the resulting image and viewing experience. I have delved deeper into creating image-objects that provoke perceived experiences and collectively share a consciousness of ones willingness to alter personal perception in order to correct how difference is seen. I intend to create viewing experiences, which represent the possibility of empowering viewers to change perspective.

- Leslie Smith III



Locus of Control investigates the degree to which people believe they have control over the outcome of events in their lives, as opposed to exterior forces outside their control. Formally, this project explores unique and individual viewing experiences that challenge how we understand ourselves in relationship to those around us. Referencing the history of Black abstraction the subjects of these inquiries reflect intentions to politicize abstraction in the interest of suggesting perception as a defining factor in our cultural affair with otherness. I have produced a series of works where shaped oil paintings redefine the space of the wall with conflicting tangential parings. The pursuit being, to generate works that exhibits the social agency of abstraction while simultaneously contributing to the contemporary discourse within the broader art world.  

As a series of paintings, Locus of Control exhibits distinct spaces not dependent upon traditional three-dimensional perspectives. I’ve begun to fracture singular shaped canvases into multiple shapes that relate to each other tangentially. Connected to each other at points, they shift, lean and pull away from each other, at times creating voids and linear creases, forged when two adjacent panels are bolted together. The viewing experience abets the prospect of uncoupling previous histories from identifying unfamiliar forms.



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