1-12 of 12 results  for:

  • Conceptual Art x
  • East Asian Art x
Clear all

Article

Mary M. Tinti

(b Houston, TX, 1951).

American sculptor, installation and conceptual artist. His multimedia works investigate the pathology of contemporary culture. Mel Chin was born and raised in Houston, Texas to parents of Chinese birth and received his BA in 1975 from the Peabody College in Nashville, Tennessee. The works in Chin’s oeuvre are diverse in both medium and subject, but a consistent undercurrent of social, political, and environmental responsibility runs throughout. Whether a sculpture, film, video game, installation, public project or earthwork, Chin’s artworks consistently targeted a broad spectrum of pressing cultural and ecological interests and spread their message in subtle, if not viral ways.

In the 1980s, Chin produced a number of sculptures that set the stage for his ever-evocative artistic journey. The Extraction of Plenty from What Remains: 1823 (1988–9) is a frequently referenced piece from this period. It is a symbolic encapsulation of the effects of the Monroe Doctrine, referencing the complicated dealings between the US (represented by truncated replicas of White House columns) and Central America (represented by a cornucopia of mahogany branches, woven banana-tree fiber, and a surface layer of hardened blood, mud, and coffee grinds). From the 1990s, however, Chin moved away from strictly gallery-based installations and began creating works that directly engaged contemporary culture in a variety of physical and theoretical landscapes....

Article

Akira Tatehata

(b Kariya, Aichi Prefect., Jan 2, 1933; d New York, June 2014).

Japanese painter, draughtsman, and conceptual artist, active in the USA. After graduating from Kariya High School in 1951, he moved to Tokyo, exhibiting at the Yomiuri Independent Exhibitions. His sensibility for a cold materialism became apparent in his series of drawings Bathroom, of dismembered grotesque nude bodies (1953–4; Tokyo, N. Mus. Mod. A.). Kawara went to Mexico in 1959 and travelled through Europe. He settled in New York in 1965. His renowned series of Date Paintings (from 1965), made in various cities on his travels, juxtapose a detail from a local newspaper with a simple record of the date in typographical letters and numbers on monochrome canvases using acrylic. The paintings’ principal meaning was that the artist and viewer shared the numbers that signified a date they both had lived. In the series of telegrams in the 1970s, which sent the message ‘I am still alive’ to his friends, he used the verification of his own existence as a statement in a medium whose abstraction, regardless of the artist’s hand, paradoxically gave his work a tense reality. His other work in book form, ...

Article

Yulin Lee

[Ming Hong]

(b Tokyo, Nov 6, 1964).

Taiwanese conceptual artist, active also in the USA. Lin studied at the Otis Art Institute of Parsons School of Design in Los Angeles in 1990 and then the Art Center College of Design, Pasadena in 1993. Although Lin was born in Japan, he spent his early childhood in Taiwan and then moved to the USA. These transcultural experiences complicated the task of positioning himself as an artist after his return in 1993 to Taiwan, where contemporary art largely focused on locating a definitive identity.

Lin’s interest in creating art expressive of his fluid experience was already present in his first solo exhibition, Meander (1994). Lin hung monochromatic, acrylic-lacquered steel plates perpendicular to a white wall. While these highly finished works reflected an aesthetic close to that of Donald Judd’s industrially manufactured cubes, they also indicated Lin’s own West Coast background—the fetishism of the enamelled surface being rooted in southern California’s automobile culture....

Article

Wu Mali  

Yulin Lee

(b Taipei, June 14, 1957).

Taiwanese conceptual artist ( see fig. ). After graduating in 1979 from Tamkang University in Taipei with a degree in German language and culture, Wu left for Germany to study sculpture at the National Art Academy, Düsseldorf (1985). After graduating from Düsseldorf, she returned to Taiwan, where the lifting of martial law triggered vital socio-political and economic changes. As society swiftly shifted from the staleness of authoritarianism to effervescent pluralism and decentralization, Wu took a strong interest in the emerging social, political and historical hierarchies. Informed by her literary background, Wu’s early installation works Newspaper I Read (1989) and Gnawing Texts, Reaming Words (1993) involved putting the pages of a newspaper or texts through a shredder, then re-arranging the shreds into an installation.

This deconstructive work culminated in The Library (1995; see 2002 exh. cat., p. 26), a site-specific installation in the 46th Venice Biennale. The work consisted of a library of bookshelves that displayed immaculate acrylic cases in the form of books. In each bookcase Wu replaced world-renowned texts or tomes, such as the Bible, Thames & Hudson’s World Art series and Chinese classics with the paper fragments shredded from that text’s actual pages. By annulling the communicative function of the text, Wu transformed the texts from something with content or meaning into a non-verbal, visual material. Wu therefore made the audience aware of the artificiality of hierarchy inherent in many canonic writings by transforming objects with specific socio-cultural messages into what she describes as ‘art with eternal value’....

Article

Joan Kee

(b Taichung, Feb 16, 1964).

Taiwanese conceptual artist, active also in the USA. Lee spent his childhood in Taichung, where he studied Chan Buddhism from the age of eight. At 12, Lee spent time among Taiwanese expatriates in the Dominican Republic, and two years later moved to the USA, where he later studied biology at the University of Washington, Seattle. He transferred, however, to the California College of Arts and Crafts in Oakland, CA, where he focused on architecture and textiles (1993). During this time, Lee made work that originated from personal memories, such as One Hundred Days with Lily (1995), which he started after his grandmother’s death. This work was a long-term endeavour documenting the life cycle of a lily that Lee took with him as he went about his daily activities in San Francisco.

After graduating from Oakland, Lee went on to receive a master’s degree in sculpture from the Yale School of Art. At Yale, Lee expanded upon his interest in interpersonal communication, which resulted in the production of works such as ...

Article

Morgan Falconer

revised by Mary Chou

(b Tokyo, 1962).

Japanese painter and sculptor. He studied at Tokyo National University of Fine Art and Music (BFA 1986, MFA 1988, PhD 1993). Murakami began to gain recognition as a sculptor in the early 1990s. Drawing on Minimalism and conceptual art, his work often explored the clash between contemporary Japanese and American culture. Sea Breeze (1992), which was made in response to an island location, consists of a large trailer with shutters that open to emit a powerful light; it suggests something of the aggressive, sardonic character of his work, as well as the influence of commercial display. In the late 1990s Murakami gained more recognition as a painter, and began to blend abstraction and cartoon imagery in highly coloured images painted in flat space. Some works are abstract: Cream (1998) depicts a long skein of blue-white seminal fluid flying across a pink backdrop. Others, such as ...

Article

Karen M. Fraser

(b Hyogo Prefecture, 1945).

Japanese photographer, sculptor, and conceptual artist. He studied at Kyoto City University of Fine Arts, where he earned a BFA in 1967 and an MFA in 1969. Nomura was initially trained as a sculptor. In his MFA thesis project, Tardiology (1969), Nomura explored the idea of non-permanent sculptural form, creating an eight-metre tall cardboard sculpture and then using photographs to record the changes in form as the boxes gradually collapsed under their own weight. From that point on photography was one of his primary media. Nomura was interested in investigating processes of scientific and natural phenomena with a particular focus on the passage of time. He used photographs to capture movement and changes over time and to make previously unseen things visible. Many of his projects were created over lengthy periods, with photographs being taken daily or monthly and for years. In his 1991 Analemma series (The Analemma ’91-Noon...

Article

Marta Filipova

(b Žilina, Slovakia, 1966).

Slovak conceptual artist. He studied at the Academy of Fine Arts in Bratislava and has held residencies in the USA, Germany, Japan, and Switzerland. He has been exhibiting since 1996. His work usually involves the participation of exhibition visitors, who help to carry out experiences that Ondák designs. The visitor is no longer just a spectator – his or her presence, sound, or visual contribution become part of the work of art. Ondák thus challenges the dichotomies of the private and the public spheres, the inside and the outside, the real and the anticipated.

Ondák involved museum visitors in the creation of a work entitled Measuring the Universe (2007, Munich, Alte Pin.; 2009, New York, MOMA). The participants were asked to mark their height on a white wall in an empty gallery room, creating black lines with people’s names all around. Drawing on an internationally popular custom of marking children’s height at home, he brought a private affair into a public space. The marks, which held great personal importance for the individuals involved, became anonymous and lost amongst other people’s indications....

Article

Reiko Tomii

(b Tokyo, May 1965).

Japanese conceptual artist who has used photography, video, painting, sculpture, installation and performance. He received degrees in oil painting (1989) and mural painting (1991) from Tokyo National University of Fine Arts and Music. Ozawa belongs to the so-called subculture generation of Japan; those immersed in manga and anime in their childhood. Like his contemporaries (such as Takashi Murakami (b 1962) and Makoto Aida (b 1965)), he freely borrowed from both traditional and modern cultures to critique the institutions of art, life and society, while humorously exploiting everyday culture, such as Jizō (Sk: Kshitigarbha; a popular Buddhist deity of salvation), soy sauce and milk-bottle receptacles.

For his first major project Jizoing, begun in 1988, he photographed a small handmade figurine, or a rudimentary drawing of Jizō, at some 80 places in Japan, as well as China, Tibet, Korea, Moscow, Tehran and New York over a period of more than 10 years. The photographs, monochromatically printed and tinted in pale blue to invoke a time of twilight, were compiled into a book (...

Article

Midori Yoshimoto

(b Shizuoka, March 3, 1965).

Japanese conceptual artist, sculptor and installation artist . Sone earned an MA in architecture at Tokyo National University of Fine Arts and Music (1992), but decided to experiment with a wider range of media in order to explore the concepts of futility and the unattainable. His first work, Her 19th Foot (1993), shown at the Art Tower, in Mito, and later in the Rooseum, in Malmö, consisted of 19 unicycles welded together for 19 cyclists to ride. As several attempts by different participants failed, the work implied the ‘impossibility of communal illusions’ (see Inoue). His next work, Artificial Lawn Performance (1994), consisted of four photographs that seemed to prove the fiction that Sone had laid Astroturf on the surface of the moon as part of NASA’s art programme. The nonsense of the grandiose act is heightened by the artificial quality evident in Sone’s pseudo-documentary photographs. For the opening of the Expo ...

Article

Britta Erickson

(b Beijing, May 13, 1957; official birthdate Aug 28, 1957).

Chinese conceptual artist, curator and architect. Son of the poet Ai Qing (Jiang Haicheng) (1910–96). For 25 years Ai Weiwei was consistently one of the most innovative figures in China’s art world. He helped direct the course of Chinese art, not only through his own artistic production, but also through his curatorial, editorial and design projects, and his encouragement of younger artists.

In 1978 Ai Weiwei enrolled in the Beijing Film Academy. His public career as an artist began when he participated in the first Stars group show (1979), an unofficial exhibition hung prominently on a fence next to the National Art Gallery in Beijing. Because the exhibition—and the heavy-handed reaction of the police—drew the attention of foreign reporters, the Stars gained fame as China’s first well-known post-Cultural Revolution dissident artists.

In 1981 Ai Weiwei moved to the USA where he lived mostly in New York, returning to Beijing in 1993. While in New York he studied briefly at the Parsons School of Design and the Art Students League and was exposed to original works by artists who proved to be important influences: Jasper Johns, Marcel Duchamp and Andy Warhol. As a result he began experimenting with the concept of the ready-made, a process that continues throughout his subsequent work. Characteristic of his early works, ...

Article

Morgan Falconer

(b Fukuoka, 1959).

Japanese sculptor. He studied at Musashino Art University, Tokyo, and completed a fellowship in sculpture at Yale University, New Haven, CT, in 1990. Initially Yanagi was influenced by the Minimalist and Conceptualist orientation of the Japanese Monoha movement of the late 1960s and early 1970s; soon after he became known for a series of performances using coloured gas. He rose to international prominence in the 1990s following the success of a number of seminal installations that employed ants as metaphors for global migration. In the Wandering Position series (begun in 1989) Yanagi used chalk to trace out the path of an ant as it moved about a circumscribed area. The World Flag Ant Farm (1990; first exh. Venice Biennale, 1993; see 1996 exh. cat., p. 37) elaborated on his ideas through an installation that comprised a complex of wall-mounted plexiglass boxes filled with coloured sand depicting a number of national flags. He added ants to the boxes, allowing them to crawl around and move the sand from one box to another via transparent tubes, thus progressively destroying the integrity of the flags. Yanagi’s interest in the nation state developed throughout the 1990s to encompass other themes, including ideology, nationalism and the construction of cultural difference. In ...