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Ceramics

InCiteful Clay / Arkansas Arts Center, Little Rock, USA

InCiteful Clay at Arkansas Arts Center, Little Rock

InCiteful Clay / Arkansas Arts Center, Little Rock, USA
April 4 - June 29, 2014

The Arkansas Arts Center, the state’s leader in international, visual and performing arts, presents the exhibition, InCiteful Clay, on view April 4 - June 29, in the Winthrop Rockefeller Gallery.

“This exhibition of brilliantly expressive ceramics offers extraordinary insight into the artists’ creative imaginations,” said Arkansas Arts Center chief curator and curator of contemporary craft Brian Lang. “Each work in the exhibition tells a unique and compelling narrative and illustrates the diversity and limitless potential of the clay medium.”

Artists have long used their creations as powerful vehicles to confront current and major societal issues, moving beyond paintings, sculptures, prints and photographs to installations and electronic media over the last century. Social concern has also become an area of increasing interest in contemporary craft.

For more than fifty years, the Arkansas Arts Center has been a leader in collecting and exhibiting contemporary craft. InCiteful Clay continues this tradition and is a follow-up to the landmark exhibition, Confrontational Clay: The Artist as Social Critic, which was also presented by the Arkansas Arts Center in 2000. This national travelling exhibition offers an unparalleled overview of an emergent movement in contemporary ceramics dedicated to social commentary.

Incorporating a broad range of work, InCiteful Clay includes approximately 35 ceramic sculptures by artists who utilize a millennia-old medium to create provocative critiques of contemporary social, political, cultural and environmental issues. The exhibition is organized around five themes: war and politics; the social and human condition; gender issues; environmental concerns; and popular and material culture. The artists have conveyed their messages in styles that are aggressive, violent, disturbing, irreverent, and at times, humorous, but all the while ever passionate. They rely on figurative imagery, narrative content, and a range of expressive avenues, including caricature, parody, satire, obscenity, erotica and the grotesque.

Featured artists in the exhibition include: Toby Buonagurio, Nuala Creed, Michelle Erickson, Richard Notkin, Anne Potter, Richard Shaw, Akio Takamori, Ehren Tool, Patti Warashina and Paula Winokur, among others. Among the specific topics they address are: the social consequences of war, the impact of declining moral values on children, capital punishment, consumerism and global warming.

Traditionally, ceramics have served functional and decorative purposes and have been associated with positive experiences. Visitors to this exhibition will come away with a new appreciation for the expressive capabilities of clay media to convey substantive content and to deliver the powerful critiques more routinely seen in painting and sculpture.

InCiteful Clay is organized and circulated by ExhibitsUSA, a national division of Mid-America Arts Alliance, with the Arkansas Arts Council and The National Endowment for the Arts. The exhibition is curated by Judith S. Schwartz, Ph.D., an internationally recognized specialist in contemporary ceramics. A professor and director of craft media in the Department of Art and Art Professions, New York University (New York, New York), Schwartz recently published a groundbreaking study of this movement within ceramic art, Confrontational Ceramics: The Artist as Social Critic (Philadelphia: University of Pennsylvania Press, 2008).

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  • Sara Radstone / Marsden Woo Gallery, London

    Sara Radstone at Marsden Woo Gallery London

    Sara Radstone / Marsden Woo Gallery, London
    April 3 - May 10, 2014

    Sara Radstone describes her work as ‘a lifetime obsession with things that are overlooked or discarded’. Thoughts of archived objects and the traces or fragments of long redundant artefacts all haunt her work; they represent, as she puts it, the ‘frozen remains of what might have been.’

    Her most recent sculptures on the theme of distant and fragile memory make reference to both past works and more universal themes. Some aspects of her investigation include the re-envisioning of her personal visual language. She speaks of ‘Re-visiting a sense of volume and seeing it differently’, to overturn the original idea to the degree of ‘going to the absolute opposite’. Thus formerly enclosed shapes are now ripped open, while a delicate, skeletal wall-mounted piece, composed of frail fragments, makes poignant reference to an earlier sculpture, sadly lost alongside numerous other contemporary British artworks in the MoMart warehouse fire of 2004.

    Traces of thoughts and the notion of ideas gradually taking shape and accumulating over time are also represented in a series of folder or book-like forms. These thin and precarious objects appear dry and brittle, torn, scratched and punctured, while bearing the sheen of use. Radstone found herself returning to work on the books almost as a daily ritual; as such they became the focus of her interest in ‘building up a sort of diary of marks’, serving as a record of ‘the struggle to express things on their pages’.

    Sara Radstone (b.1955) studied at Herefordshire College of Art (1975-76) and Camberwell School of Art & Design, London (1976-79). She has exhibitedinternationally and her work can be found in numerous public collections including the Los Angeles County Museum, USA; Shigaraki Cultural Park, Japan; and the Victoria & Albert Museum, London.

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  • Beverly Mayeri / Duane Reed Gallery, Saint Louis

    Beverly Mayeri at Duane Reed Gallery, Saint Louis

    Beverly Mayeri / Duane Reed Gallery, Saint Louis
    April 11 - May 10, 2014

    Beverly Mayeri is a studio artist living in the Bay Area with over 30 years experience as an established ceramic sculptor. She earned a BA from the University of California, Berkeley, and an MA in sculpture at San Francisco State University.

    Mayeri works with refined and elegant heads and figures often using meticulously patterned details that allude to the inner life of emotions, thoughts and human frailties. The pieces are painted in washes of acrylic paint. Mayeri’s figures “evoke a richly complicated human presence,”and often “bridge the psychological, the political and the sensuous within one hybrid form.” Her work has been shown extensively in numerous museums and galleries, and is included in many public and private collections. She has received 2 NEA grants, and a Virginia Groot Grant, and has lectured and taught many workshops throughout the U.S.

    Since its opening in 1994, the Duane Reed Gallery has represented and exhibited nationally recognized contemporary artists working in the fields of painting, photography, and sculpture. This program itself has been committed to showcasing innovative, established and emerging artists working both figuratively and abstractly in a variety of mediums that also include ceramics and glass. Works of gallery artists can be found in major public and private collections that include the Metropolitan Museum of Art, MOMA, The Museum of Arts and Design, Smithsonian Museum of American Art, Carnegie Museum, Philadelphia Museum, LA County Museum, Victoria and Albert, and the Musee des Arts Decoratifs, Paris, to name a few.

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  • Gunhild Rudjord and Nils Erik Gjerdevik / Copenhagen Ceramics, Denmark

    Gunhild Rudjord and Nils Erik Gjerdevik at Copenhagen Ceramics

    Gunhild Rudjord and Nils Erik Gjerdevik / Copenhagen Ceramics, Denmark
    February 27 - March 22, 2014

    The expressive potential of ceramic glazes is one of the artistic links between both artists at the year’s first exhibition at Copenhagen Ceramics. Gunhild Rudjord and Nils Erik Gjerdevik both master the capacity to exploit the particular textural possi-bilities of ceramics, but make use of them for widely differing purposes.

    It might at first glance seem to be a somewhat odd combination of artists to find exhibiting new ceramic works together at the coming exhibition at Copenhagen Ceramics. But on closer inspection it becomes obvious that an interest in the expressiveness of ceramic glazes, their physical properties and colour feature strongly in the work of both artists. They are nevertheless rooted in different traditions and their approach to the use of the materials is fundamentally different.

    Gunhild Rudjord was born in Norway, but trained as a ceramist in Denmark and in her career here she has mainly worked with some of the best-known archetypes of ceramics – the vessel and the dish as her ‘canvas’. She has created wonderfully decorated works where the ornamental motifs – often inspired by nature – are expressed in a more or less abstract form in an exuberant interaction with the glaze-effects of depth of colour, gloss and obvious signs of the fusing process during firing. There is a great deal of power in her works. They have the appearance of being simple but dramatic, with strong compositions, marked contrasts and – despite this – the particular softness of expression drawn by the glaze as it runs down over the surface of the pot.

    Gunhild Rudjord is virtually unrivalled in her capacity to exploit the particular transformation that takes place during firing, as can be seen in a series of new wall dishes on show at this exhibition.

    As far as Nils Erik Gjerdevik is concerned, the ceramic works arise from an apparently spontaneous processing of the actual material, the soft clay, into a sculptural expression. The ceramic works have, throughout his career, created a parallel track to his paintings and drawings.

    His abstractions are of a special nature: one category of works are the spatial constructions, which look like free-fantasy visions in an architecturally influenced artistic idiom which, partly via the soft hardness of the material, acquires an almost surrealist feel. Construction and deconstruction take place at one and the same time. Other ceramic works unfold as large, untamed landscapes that contain an innate narrative, a blend of a clear form that at the same time apparently defies any form of interpretation: I see what I see, but what is it I see? There are many references in the works, both to former schools of art (e.g. Art Nouveau) in the formal techniques, but also elements taken from the universe of the strip cartoon. A formal stringency and a controlled chaos. First and foremost, however, his works have a presence, a here-and-now, where the response from the clay adds a quite distinctive dimension to Gjerdevik’s virtuosity.

    Gunhild Rudjord has exhibited widely in Denmark as well as internationally. Among her more recent exhibitions are Galleri Moderne, Silkeborg 2013, Galleri Pagter (solo), Kolding, 2012; Himmerlands Kunstmuseum 2011 (together with Kirsten Klein) and Kunsthallen Brænderigården (solo), Viborg, 2006. She has carried out various decorative assignments, including a two-metre-high vase for Faaborg and 100 platters for the New Carlsberg Foundation. Her works are represented at the New Carlsberg Foundation; Danish Art Foundation; Nordenfjeldske Kunstindustrimuseum, Trondheim, Norway and Sønderjylland Kunstmuseum, Tønder, DK.

    Nils Erik Gjerdevik’s impressive activities as an exhibitor include major solo exhibitions at Kunsthallen Brandts, 2012 and Kunstforeningen Gl. Strand, 2009. In addition he has had a great many showings at galleries at home and abroad – in Denmark at Galleri Nils Stærk in particular. He has also carried out a number of public decorative assignments for, including others, Erhvervsarkivet , Aarhus; The University of Southern Denmark and the Danish Parliament. His works feature in the collections of the National Gallery of Denmark, Aros–Aarhus Kunstmuseum; Esbjerg Kunstmuseum; The Danish Royal Collection of Graphic Art, Bergen Kunstmuseum, and more.

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  • Klara Kristalova: Underworld / Galerie Perrotin, New York

    Klara Kristalova Underworld exhibition at Galerie Perrotin New York

    Klara Kristalova: Underworld / Galerie Perrotin, New York
    February 27 - April 12, 2014

    Opening reception: Thursday, February 27, 6-8 pm.

    There is something fascinating about circuses, not the big productions kind, but the small family type that travel around the countryside. They aren’t perfect but you get a sense that they really try; the kind of atmosphere were strange things can happen but we are still close to ordinary life. – Klara Kristalova

    Galerie Perrotin, New York is pleased to present “UNDERWORLD”, its first solo exhibition by Klara Kristalova in New York and the artist’s fourth solo show with Galerie Perrotin.

    Klara Kristalova constructs a dark, odd, and yet familiar world. The characters that inhabit her universe are peculiar, alone, quiet, perhaps lost, as if they have just escaped from a cruel tale, waiting for a passer-by to stop and indicate the way. Made from glazed ceramics, Kristalova ‘s figures carry a raw, vulnerable, human feel to them. Drawing from Nordic storytelling and traditional myths, Kristalova manages to convey basic human emotions such as fear, love, sadness and guilt, which emerge from her work like memories from our own childhood.

    For her first exhibition at Galerie Perrotin, New York, Kristalova presents a series of new characters who form an ambiguous circus cast: performing acrobats, a bird with a girl’s face, a boy with mosquito wings, a magician’s daughter. How they ended up together is for us to guess though don’t be fooled by their seemingly innocent look. As with “Double Face”, they all carry their own enigma of good and evil. Perhaps they deserve their fate; perhaps they are unaware of their own condition. Kristalova crafts their portraits at a specific moment of their mysterious lives, providing us with a few elements before the curtain drops and the show begins, leaving us to write the rest of our their narrative.

    Kristalova was born in former Czechoslovakia in 1967 and moved to Sweden with her parents when she was only a year old. She studied at the Royal University College of Fine Art in Stockholm and lives in Norrtälje, Sweden. Recent exhibitions include the Göteborgs Konstmuseum, Sweden (2012), Bonniers Konsthall, Stockholm (2012), San Francisco Museum of Modern Art (2011) and SITE Santa Fe, New Mexico (2009), among many others.

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  • Şirin Koçak at Kuğulu Art Gallery, Ankara, Turkey
    February 10-28, 2014

    Photographs by Cemil Erdoğan. Courtesy of the artist.

    > More exhibitions / View the list of ceramic art exhibitions


  • Jun Kaneko: Black & White at Bentley Gallery, Phoenix, Arizona
    January 9 - February 28, 2014

    Courtesy of the artist and Bentley Gallery.

    > More exhibitions / View the list of ceramic art exhibitions


  • Lynda Benglis / Cheim & Read Gallery, New York
    January 16 - February 15, 2014

    Courtesy of the artist and Cheim & Read, New York

    > More exhibitions / View the list of contemporary ceramics exhibitions

  • Dark Light: The Micaceous Ceramics of Christine Nofchissey McHorse / Houston Center for Contemporary Craft

    Dark Light, Micaceous Ceramics of Christine Nofchissey McHorse at Houston Center for Contemporary Craft

    Dark Light: The Micaceous Ceramics of Christine Nofchissey McHorse / Houston Center for Contemporary Craft, Houston
    February 7 – May 11, 2014

    Opening Reception: Friday, February 7, 5:30 – 8:00 PM
    5:30 - Artist Talk by Adrian Esparza
    6:00 - Artist Talk by Christine Nofchissey McHorse

    The opening will also feature Spectra by Adrian Esparza in the Front Gallery. Open studios by current resident artists to follow talks. 

    In Dark Light: The Micaceous Ceramics of Christine Nofchissey McHorse, Houston Center for Contemporary Craft (HCCC) presents works by one of the most innovative contemporary forces in Native American pottery.  Working from traditional materials and techniques, Christine Nofchissey McHorse’s vessel-based art blends the boundaries of pottery and sculpture, erasing the line between function and form. As the Navajo artist’s first traveling exhibition, the show exhibits the unadorned sophistication of the sultry curves, black satiny surfaces, and modern forms of her Dark Light series, created from 1997 to present. An amalgam of Puebloan, Navajo, and contemporary influences, each sculpture possesses a cultural splendor that is as fertile as the Northern New Mexico riverbeds where McHorse harvests her clay.

    Through the unadulterated beauty of micaceous clay and with Puebloan construction techniques learned from her Taos mother-in-law, McHorse transforms her sketches into voluminous shapes that swell upwards like a natural spring. Dismissing the rudimentary forms that define Native American ethnic identity in craft, she returns to primordial shapes, akin to the modern aesthetic of Henri Moore. Experimenting with shape, mass, volume, and line, she creates organic vessels in the vein of her ancestors, who recognized the spiritual power of water, air, and earth.

    To complement her natural forms, McHorse gives each piece its own unique skin by pushing the boundaries of a raw material. Traditionally used for cookware and valued for its structural integrity, micaceous clay permits McHorse to build thin-walled structures that can withstand high temperatures, yielding a black satiny finish. The darkness of the fired clay provides a dramatic contrast to the tiny bits of reflective mica, glistening as light dances across each piece. Using light gradation as her palette, McHorse controls the presence of light by creating differently textured surfaces that either catch or reflect the light.  When combined with the elegance of each sculpture’s form, the element of light in McHorse’s works renders a captivating visual experience.

    Born in Morenci, AZ, in 1948, Christine Nofchissey McHorse is a first generation, full-blooded Navajo ceramic artist. After marrying Joel McHorse, a Taos Pueblo Indian, she learned to make pots through his grandmother, Lena Archuleta, who taught her to work with micaceous clay, a rare but naturally occurring clay high in mica content that can be found in the Taos area. McHorse has since become one of the most admired and successful Native potters, working with traditional techniques but making the kind of reductive, sculptural pots that one would have expected Brancusi to make, were he alive today.

    From 1963 – 1968, McHorse studied at the Institute of American Indian Arts in Santa Fe, NM, where her studio is now located.  She has received numerous awards from the SWAIA Indian Market, Santa Fe, and the Inter-Tribal Indian Ceremonial, Gallup, as well as the Museum of Northern Arizona. Her works are in the collections of the Denver Museum of Natural History, the Museum of New Mexico, the National Museum of American Art of the Smithsonian Institution, the Navajo Nation Museum, and the Rockwell Museum of Western Art. McHorse also has the unique distinction of winning Best in Show for both pottery and sculpture at the annual Santa Fe Indian Market.

    Dark Light: The Micaceous Ceramics of Christine Nofchissey McHorse is organized by The Ceramic Arts Foundation, New York, NY, and curated by Garth Clark and Mark Del Vecchio.

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  • Şirin Koçak / Kuğulu Art Gallery, Ankara, Turkey

    Sirin Kocak exhibition, Kugulu Art Gallery Ankara, Turkey

    Şirin Koçak / Kuğulu Art Gallery, Ankara, Turkey
    February 10-28, 2014

    "Şirin Koçak sticks in our mind with her works in which senses, experiences, broken hearts, and memories of today and the past are blended with a deep and shocking taste. Traces from the past finds a new integrity and expression in her both subjective and universal works made of ceramic clay.

    First of all, Koçak prefers to use all the advantages of ceramic clay to the utmost in her works. Natural structural properties of clay and the identity codes forming the virtual identity of clay come to life again in her works. As in “Line” series, consciously unremoved traces of the production techniques can become the main purpose of the study. We can see the story of clay out of these traces, and we are left alone with the reflections of these traces in our inner world. The linear structure on the surface establishes a direct relationship between a function like “drinking” and “touch-tactile” features. Pure and tactile effects of hand shaping present the visual expressions of mankind’s existence as a part of nature in “Light” series, which are full of Neolithic allusions. These works being the integral parts of an archaic expression question the association of the substance with light. They emphasize the significance of the footprint of the matter in the universe, and the space. Concave and convex structures gain new dimensions with different reflections of light and create an illusion effect in places. We see the traces of this inner space also in closed forms of “Circle” series. Although the forms stand out with their natural linear glazed textures on them, the inner space is full of the load of inner energy imprisoned in a body.

    Ups and downs in life, happiness and disappointment are the witnesses of her subjective history in Şirin Koçak’s works.

    "Days of one heart" project is a cinematographic-photographic expression of this witnessing. Koçak describes this work in her sensory language: “this work is so special to me! The work in the form of a single heart is presented with its photographs in new stories which take place in different venues, and in the hands of different people. This heart has been an object that has been with me anytime anywhere in this two-year period that I felt all alone. Without prior planning, I took photos of the object in different places and tried to reflect the object’s (my) mood. The journal of one and same object… sometimes it was cracked, and I repaired it, sometimes it was broken, and I fixed it; my fighting spirit that still continues to exist”. Although the photographed places are examples of a spontaneous selection, their coexistence with the ceramic heart takes us to different fictive worlds. Sometimes a door sill and sometimes a pond presents an opportunity to navigate our own dream world. That a vital organ such as heart is left such open and exposed refers to unprotectedness and finding life in any condition. The presence of heart disembodied reveals the contradictions that make our life meaningful.

    Şirin Koçak pushes the boundaries of traditional and cliché expressions of ceramic. The photographic expressions and different materials that she uses in her works help ceramic to be regarded as a modern art medium.

    One mustn’t think that she is an artist who is technique-dependent and focuses on technique since some techniques such as Naked Raku are in front in her works. Şirin Koçak is an artist who can use all the advantages of different techniques in different production processes consciously and skillfully. A dream explorer travelling around senses, experiences, and upsets…”
    Words by Kemal Tizgöl

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  • Anders Ruhwald and Matt Ziemke / The Clay Studio, Philadelphia

    Anders Ruhwald and Matt Ziemke at The Clay Studio, Philadelphia
    February 7 - March 2, 2014

    The Clay Studio will host a reception for Cranbrook Alumni on Saturday Feburary 8th at 2pm. Matt Ziemkie will give a Gallery Talk at 3 pm within his solo exhibition Adrift and Anders Ruhwald will give a gallery talk at 3.30 pm within his solo exhibition Almost Everything.

    Anders Ruhwald Almost Everything exhibition at The Clay Studio

    Anders Ruhwald: Almost Everything / Harrison Gallery

    Danish-born artist Anders Ruhwald makes art that is  “a meditation on utility, the history of ceramics and object-hood”. Almost Everything was created in 2009 and has been exhibited at galleries in five European countries before making its United States debut at The Clay Studio.

    Ruhwald has lectured and taught at universities and colleges around Europe and North America since 2006 and has held an associate professorship at the School of the Art Institute of Chicago. Currently he is the Artist-in-Residence and Head of the Ceramics Department at Cranbrook Academy of Art in Michigan, USA.

    Matt Ziemke Adrift exhibition at The Clay Studio

    Matt Ziemke: Adrift / Reed-Smith Gallery

    Former Clay Studio Resident Artist Matt Ziemke draws his inspiration from the tense relationship between the landscape and those who live and build within it. His ceramic forms reflect his broad vision of material culture that leans harder on industry than domesticity. His installations are drawn from the vast reservoirs of familiar (but practically invisible) structures that dot the modern landscape.

    Matt Ziemke received his MFA in 2011 from the Tyler School of Art in Philadelphia. He has exhibited widely in the United States and is currently serving as a Visiting Artist in Ceramics and Adjunct Instructor at Indiana University Southeast in New Albany.

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  • Yeesookyung: The Meaning of Time / Locks Gallery, Philadelphia

    Yeesookyung: The Meaning of Time at Locks Gallery Philadelphia

    Yeesookyung: The Meaning of Time / Locks Gallery, Philadelphia
    February 7 - March 15, 2014

    Artist reception: Friday, February 28, from 5:30 to 7:30 pm.

    Locks Gallery is pleased to present The Meaning of Time, the first solo exhibition in the United States by the Korean artist Yeesookyung, on view February 7 through March 15, 2014. This exhibition is intended to be a contemporary perspective in dialogue with the nationally touring exhibition of Korean Joseon Dynasty artifacts that will be on view at the Philadelphia Museum of Art on March 2, 2014. An illustrated catalog of the works will accompany the exhibition with an essay by writer Robert C Morgan.

    In this exhibition, Yee revisits traditional Korean arts in work featuring porcelain and gold sculptures, silk scroll paintings, and a video dance performance. This work reflects both a wisdom from decades of conceptual art practice and a rigorous formal training in her elegant craftsmanship. Identifying herself as a “local artist,” Yee’s work reflects poetically on specific Korean cultural traditions and histories. But in the context of globalization, the work poignantly reflects how traditions taken from the past are re-imagined and recontextualized.

    Known internationally for her Translated Vase series, Yee collects porcelain shards from Korean ceramists who make reproductions of Joseon Dynasty white porcelain and Goryeo Dynasty celadon masterworks. By making intuitive voluptuous forms out of their “trash”, Yee employs the traditional method of repairing ceramics with gold. Meanwhile the works play with language as gold and crack (both “geum”) are homonyms in Korean.

    Also on view are recent silk scroll paintings from the series Flame Variation. Echoing the graphic iconographic style of the wall paintings of the Gorguryeo Tombs with the spatial organization of symmetrical Buddhist paintings, Yee combines traditional religious imagery with that of fairy tales, cartoons, myths, and allegories. From a distance the scrolls appear to be traditional artifacts, but upon further inspection they are captivating in their non-linear narratives and distinctly contemporary graphic content.

    Yeesookyung’s video dance work, Twin Dance, is an extended meditation on Kyo Bang Choom, a traditional Korean dance performed by women of the Joseon Dynasty. The work explores a relationship with symmetry akin to the silk scroll paintings. The video completes this constellation of works that represent her recent conceptual investigations into Korean cultural traditions with distinctly contemporary approaches.

    Yeesookyung (b. 1963) is an interdisciplinary artist living and working in Seoul, Korea. She recieved both her undergraudate degree and MFA in painting from the National University in Seoul. The artist has completed residencies at Villa Arson, Apex Art, and the Bronx Museum. Yee’s work has been shown internationally at the 6th Gwanju Biennale (2006), ARCO (2007), the 5th Liverpool Biennal (2008) the Vancouver Biennale (2009), the Buson Biennale (2010), and the 18th Biennale of Sydney (2012). She has been included in notable recent exhibitions including “Women In-Between: Asian Women Artists 1984-2012” at the Fukuoka Asian Art Museum, the 2012 Korea Art Prize exhibition at the National Museum of Contemporary Art in Seoul, Korean Eye 2012 at Saatchi Gallery in London, and The Collectors Show: WEight of History at the Singapore Art Museum in 2012. Her works can be found in the collections of the National Museum of Contemporary Art in Korea, Los Angeles County Museum of Art, Museum of Fine Arts in Boston, IFEMA ARCO Collection in Madrid, Echigo-Tsumari City Collection Japan, Saatchi Collection in London, the Spencer Museum of Art at the University of Kansas, among others.

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