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{{Short description|American painter (born 1961)}}
'''Byron Kim''' (born in [[1961]] in [[La Jolla]], [[California]]) is a [[contemporary_art|contemporary artist]] who lives and works in [[Brooklyn]], [[New York]]. In the early 1990s he produced [[minimalist]] paintings exploring racial identity.He also graduated from Yale University.
'''Byron Kim''' (born in 1961 in [[La Jolla]], [[California]]) is an American [[contemporary art]]ist. He is [[Korean Americans|Korean American]], and lives and works in [[Brooklyn]], [[New York (state)|New York]].<ref>{{Cite web |last=Vogel |first=Maria |date=2021-03-19 |title=Artist Byron Kim’s Deceptively Modest Meditations on Identity Pose Important Questions—Here Are 3 Facts to Know About His Work |url=https://news.artnet.com/art-world/byron-kim-three-1949443 |access-date=2023-07-10 |website=Artnet News |language=en-US}}</ref><ref>{{Cite web |last=Berwick |first=Carly |date=2011-04-23 |title=Stranger in America |url=https://www.artnews.com/art-in-america/features/glenn-ligon-62890/ |access-date=2022-04-29 |website=ARTnews.com |language=en-US}}</ref> In the early 1990s he produced [[minimalist]] paintings exploring racial identity. He graduated from Yale University in 1983 where he was a member of [[Manuscript Society]].


==Works==
==Works==
Kim's work in the early 1990s consisted of monochrome canvases depicting the skin tones of friends and family.<ref name=Lovelace>[[Carey Lovelace]], [https://findarticles.com/p/articles/mi_m1248/is_10_89/ai_79276175 ''Byron Kim at Max Protetch - Brief Article'', ''Art in America'', October 2001.]</ref> He gained early recognition for ''Synecdoche'', his contribution to the 1993 [[Whitney Biennial]], which embodied the aesthetic and political aspirations of the art in that year's exhibition.<ref name=Kelly>Micheal Kelly in Salim Kemal, Ivan Gaskell, ''Politics and Aesthetics in the Arts'', Cambridge University Press, 2000, p249. ISBN 0-521-45418-2</ref> ''Synecdoche'' (1991-1992) is a grid of 400 small, [[monochrome|monochromatic]] paintings. Each panel recreates the [[Human_skin_color|skin color]] of an individual who sat for Kim while he painted their [[portrait]].<ref name=Kelly/> Although the works, at first glance, resemble minimalist paintings of the 1960s the racial and political dimensions became apparent after reading in the exhibition catalogue how the works came about.<ref>Micheal Kelly in Salim Kemal, Ivan Gaskell, ''Politics and Aesthetics in the Arts'', Cambridge University Press, 2000, pp249-250. ISBN 0-521-45418-2</ref>
Kim's work in the early 1990s consisted of monochrome canvases depicting the skin tones of friends and family.<ref name=Lovelace>[[Carey Lovelace]], [https://findarticles.com/p/articles/mi_m1248/is_10_89/ai_79276175 ''Byron Kim at Max Protetch - Brief Article'', ''Art in America'', October 2001.]</ref> He gained early recognition for ''Synecdoche'', his contribution to the 1993 [[Whitney Biennial]], which embodied the aesthetic and political aspirations of the art in that year's exhibition.<ref name=Kelly>Michael Kelly in Salim Kemal, Ivan Gaskell, ''Politics and Aesthetics in the Arts'', Cambridge University Press, 2000, p249. {{ISBN|0-521-45418-2}}</ref> ''Synecdoche'' (1991–1992) is a grid of 400 small, [[monochrome|monochromatic]] paintings. Each panel recreates the [[Human skin color|skin color]] of an individual who sat for Kim while he painted their [[portrait]].<ref name=Kelly/> Although the works, at first glance, resemble minimalist paintings of the 1960s the racial and political dimensions became apparent after reading in the exhibition catalogue how the works came about.<ref>Michael Kelly in Salim Kemal, Ivan Gaskell, ''Politics and Aesthetics in the Arts'', Cambridge University Press, 2000, pp249-250. {{ISBN|0-521-45418-2}}</ref>


These monochrome canvases were followed by two or three-zoned canvases that color-sampled objects, sites or people.<ref name=Lovelace/> Kim collaborated with artist [[Glenn Ligon]] on ''Black & White'' (1993), part of a series critiquing the 'prejudices' of art materials, specifically the hues of 'Flesh'-colored tubes of paint.<ref>Erika Doss, ''Twentieth-Century American Art'', Oxford University Press, 2002, p237. ISBN 0-19-284239-0</ref> ''46 Halsey Drive Wallingford CT'' (1995) records his family members' various recollections of the color of a home Kim lived in as a child. Other works employ a more naturalistic approach to represent details such as the palms of the artist's hands, or the whorls in his children's hair.
These monochrome canvases were followed by two or three-zoned canvases that color-sampled objects, sites or people.<ref name=Lovelace/> Kim collaborated with artist [[Glenn Ligon]] on ''Black & White'' (1993), part of a series critiquing the 'prejudices' of art materials, specifically the hues of 'Flesh'-colored tubes of paint.<ref>[[Erika Doss]], ''Twentieth-Century American Art'', Oxford University Press, 2002, p237. {{ISBN|0-19-284239-0}}</ref> ''46 Halsey Drive Wallingford CT'' (1995) records his family members' various recollections of the color of a home Kim lived in as a child. Other works employ a more naturalistic approach to represent details such as the palms of the artist's hands, or the whorls in his children's hair.


Kim also paints landscapes<ref name=Lovelace/> and makes photographic assemblages.<ref>Grace Glueck, [http:https://query.nytimes.com/gst/fullpage.html?res=9A06E7DE1131F93AA35751C1A9639C8B63 ''Art in Review'', ''The New York Times'', Dec 9, 2005.]</ref>
Kim also paints landscapes<ref name=Lovelace/> and makes photographic assemblages.<ref>Grace Glueck, [https:https://www.nytimes.com/2005/12/09/arts/art-in-review-byron-kim.html ''Art in Review'', ''The New York Times'', Dec 9, 2005.]</ref>

His work may be found in the permanent collection of the [[National Gallery of Art]] in Washington, DC.<ref>{{Cite web |title=Byron Kim |url=https://www.nga.gov/collection/artist-info.33095.html}}</ref>

==See also==
* ''Inside the Artist's Studio'', [[Princeton Architectural Press]], 2015. ({{ISBN|978-1616893040}})


==References==
==References==
{{Reflist}}
{{Reflist}}


{{Authority control}}
{{Persondata <!-- Metadata: see [[Wikipedia:Persondata]]. -->

| NAME = Kim, Byron
| ALTERNATIVE NAMES =
| SHORT DESCRIPTION =
| DATE OF BIRTH = 1961
| PLACE OF BIRTH =
| DATE OF DEATH =
| PLACE OF DEATH =
}}
{{DEFAULTSORT:Kim, Byron}}
{{DEFAULTSORT:Kim, Byron}}
[[Category:contemporary artists]]
[[Category:American contemporary painters]]
[[Category:American painters]]
[[Category:20th-century American painters]]
[[Category:American male painters]]
[[Category:21st-century American painters]]
[[Category:21st-century American male artists]]
[[Category:1961 births]]
[[Category:1961 births]]
[[Category:Living people]]
[[Category:Living people]]
[[Category:People from La Jolla, San Diego]]
[[Category:People from La Jolla, San Diego]]
[[Category:20th-century American male artists]]
[[Category:American artists of Korean descent]]

Latest revision as of 22:34, 11 May 2024

Byron Kim (born in 1961 in La Jolla, California) is an American contemporary artist. He is Korean American, and lives and works in Brooklyn, New York.[1][2] In the early 1990s he produced minimalist paintings exploring racial identity. He graduated from Yale University in 1983 where he was a member of Manuscript Society.

Works

[edit]

Kim's work in the early 1990s consisted of monochrome canvases depicting the skin tones of friends and family.[3] He gained early recognition for Synecdoche, his contribution to the 1993 Whitney Biennial, which embodied the aesthetic and political aspirations of the art in that year's exhibition.[4] Synecdoche (1991–1992) is a grid of 400 small, monochromatic paintings. Each panel recreates the skin color of an individual who sat for Kim while he painted their portrait.[4] Although the works, at first glance, resemble minimalist paintings of the 1960s the racial and political dimensions became apparent after reading in the exhibition catalogue how the works came about.[5]

These monochrome canvases were followed by two or three-zoned canvases that color-sampled objects, sites or people.[3] Kim collaborated with artist Glenn Ligon on Black & White (1993), part of a series critiquing the 'prejudices' of art materials, specifically the hues of 'Flesh'-colored tubes of paint.[6] 46 Halsey Drive Wallingford CT (1995) records his family members' various recollections of the color of a home Kim lived in as a child. Other works employ a more naturalistic approach to represent details such as the palms of the artist's hands, or the whorls in his children's hair.

Kim also paints landscapes[3] and makes photographic assemblages.[7]

His work may be found in the permanent collection of the National Gallery of Art in Washington, DC.[8]

See also

[edit]
  • Inside the Artist's Studio, Princeton Architectural Press, 2015. (ISBN 978-1616893040)

References

[edit]
  1. ^ Vogel, Maria (2021-03-19). "Artist Byron Kim's Deceptively Modest Meditations on Identity Pose Important Questions—Here Are 3 Facts to Know About His Work". Artnet News. Retrieved 2023-07-10.
  2. ^ Berwick, Carly (2011-04-23). "Stranger in America". ARTnews.com. Retrieved 2022-04-29.
  3. ^ a b c Carey Lovelace, Byron Kim at Max Protetch - Brief Article, Art in America, October 2001.
  4. ^ a b Michael Kelly in Salim Kemal, Ivan Gaskell, Politics and Aesthetics in the Arts, Cambridge University Press, 2000, p249. ISBN 0-521-45418-2
  5. ^ Michael Kelly in Salim Kemal, Ivan Gaskell, Politics and Aesthetics in the Arts, Cambridge University Press, 2000, pp249-250. ISBN 0-521-45418-2
  6. ^ Erika Doss, Twentieth-Century American Art, Oxford University Press, 2002, p237. ISBN 0-19-284239-0
  7. ^ Grace Glueck, Art in Review, The New York Times, Dec 9, 2005.
  8. ^ "Byron Kim".
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