Yeesookyung biography of william
"I’m not a trained glass artist. So when I started this experimentation, it was purely by accident. I was holding a ladle of glass and it slipped out of my hand and spilled onto the floor, making a huge splat, which was absolutely spectacular. And at that moment, I thought it was a kind of cosmic explosion and that it would be so cool to silver it and see it really glimmer. That led me to realize that I could actually control it somewhat more than just letting it fall out of a ladle and could start making actual letters out of it. When they were clear glass they were invisible. The first text piece that I did in glass was called INVISIBLE [spelled out]. It was in blown glass, fabricated with technicians."
- Rob Wynne, interview with Alice Quinn, Believing is Seeing, Locks Art Publications,
Rob Wynne’s art is intertwined with allusive phrases that he appropriates from literature, television and conversations. Once extracted from their context, and juxtaposed with Wynne’s surreal, nostalgic imagery, they create a Proustian atmosphere where such figures as Louis Aragon, Maria Callas, and Georges Bataille seem to have a dialogue. In his s installations at Holly Solomon Gallery and Grey Art Gallery in New York, Wynne embroidered photographs of 18th century Meissen figurines with fresh anachronistic texts; lined rooms with butterflies or snakes silkscreened on wallpaper; and embroidered suits with Jean Genet’s stage directions before hanging them in the window. In his most recent work, Wynne choreographs large hand-poured letters of mirrored glass on the walls to embody his collection of borrowed thoughts such as ADIEU, VISIBLE SILENCE, and BE COME!.
Rob Wynne (b. ) has had numerous solo gallery exhibitions, including JGM Galerie, Paris; Galerie Edward Mitterand, Geneva; and Holly Solomon Gallery, New York. His work has been featured in group exhibitions at the McNay Art Museum, TX; P.S.1 Inst
Exhibition Schedule Through
Judith Joy Ross
April 24–August 6,
Press Preview: Thursday, April 20,
Dorrance Special Exhibition Galleries
The largest retrospective exhibition to date of US photographer Judith Joy Ross (born ) will open in Philadelphia, its only North American venue, following its European tour in Madrid, Paris, and the Hague. Comprising approximately photographs and a variety of documentary material, the exhibition charts her work through chronological sections that provide an overview of the artist’s main projects throughout her career. It also includes images that have never been seen before. All the works on view in the exhibition are generously on loan from the artist.
Judith Joy Ross is internationally acclaimed for her photographic portraits of people she encounters in public or within institutional frameworks. From these everyday contexts Ross crafts images of individual lives at chosen locations such as parks, public schools, the Vietnam Veterans Memorial, the offices of Congress, and political protests, among other venues. Together these bodies of work explore what it means to be a human being and a citizen, constituting a profound portrait of our age.
Judith Joy Ross was born in Hazleton, Pennsylvania. She graduated from the Moore College of Art in and earned a master’s degree in photography in from the Institute of Design at the Illinois Institute of Technology in Chicago.
Publication:
A major illustrated catalogue, co-published in English by Fundación MAPFRE and Aperture, accompanies the exhibition. It will include essays by curator Joshua Chuang and art historian Svetlana Alpers, and an illustrated chronology by Adam Ryan. A personal reflection by Ross’s friend Addison Bross is included, which accompanies the artist’s portrait of Bross. The volume is available in the Museum Store or via the website at ($65).
Organizers: Exploring the inspirations and attitudes of artists working with clay and ceramic, featured in Vitamin C In her landmark series entitled Translated Vases, Korean artist Yeesookyung created sculptures by combining discarded shards of porcelain, assembling them to make new forms and fusing them with gold leaf. The resulting works are often organic in shape, resembling soap bubbles or other biomorphic forms. Begun in , this ongoing series represents a ceramic practice that benefits from productive failure. The artist collects broken shards from artisans who work in Korea replicating historical vessels from the Goryeo (–) and Joseon (–) dynasties. By ‘translating’ these porcelain elements, Yee highlights the fragility and imperfections of human existence as well as the inevitable failure of any attempt to construct historic continuity. Yee adds touches of carat gold along the broken and re-sutured joints in these re-articulations of other people’s efforts, to suggest traces of opulence. She has explained that the Korean word geum is translated to mean both ‘crack’ and ‘gold’. Here the Vitamin C: Clay and Ceramic in Contemporary Art featured artist tells us why she works in the medium, what particular challenges it holds for her and who she thinks always gets it right. Translated Vase, (TVW2), Ceramic shards, epoxy, karat gold leaf - Yeesookyung Who are you and what’s your relationship to clay and ceramics? I am an artist who works in many different media. I am best known for my Translated Vase series, sculptures reconstructed from discarded fragments of old Korean ceramics. I piece together the smashed fragments of ceramics which have been created and then destroyed by Korean Masters. In this way I mutate the vases with 24K gold leaf over the cracks. Why do you think there’s an increased interest around clay and ceramics right now? I try not to be too concerned with the rising trends i .
The exhibition is organized by Fundación MAPFRE in collaboration with the Philadelphia Museum of Art.
Yeesookyung - Why I Create