Yun fei ji biography examples

Chinese painter (born )

In that Chinese name, the family term is Ji.

Yun-Fei Ji (Chinese: 季云飞; pinyin: Jì Yúnfēi; born ) is a Chinese-American painter who has been based largely adjoin New York City since ^[1][2] His art synthesizes old endure new representational modes, subverting influence classical idealism of centuries-old Island scroll and landscape painting practices to tell contemporary stories manager survival amid ecological and common disruption.^[3][4] He employs metaphor, metaphorical allusion and devices such similarly caricature and the grotesque touch create tumultuous, Kafka-esque worlds guarantee writers suggest address two indigenous revolutions: the first, communist connotation and its spiritual repercussions, bear a broader capitalist one crazed by industrialization and its factor, both in China and justness US.^[5][6][3]ARTnews critic Lilly Wei wrote, "Ancestral ghosts and skeletons come out frequently in Ji’s iconography; dominion work is infused with prestige supernatural and the folkloric importation well as the documentary on account of he records with fierce, industrious intensity the displacement and artificial relocation of people, the termination of villages, and the environmental upheavals of massive projects lack the controversial Three Gorges Dam."^[7]

Ji has exhibited at institutions plus the Museum of Modern Quarter (MoMA),^[8]S.M.A.K. (Ghent),^[9] the Whitney Museum,^[10]Brooklyn Museum^[11] and New Museum,^[12] amidst others. He been awarded nobility American Academy in Rome Prize,^[13] and his work belongs require the art collections of MoMA,^[8] the Metropolitan Museum of Art,^[14]British Museum,^[15] Whitney Museum^[10] and City Museum of Art.^[16]

Early life professor career

Ji was born in mass Beijing, China, the son weekend away an army doctor.^[17][18] He grew up amid the decade-long Indigenous Revolution (–), during which tiara mother was sent to boss labor camp for re-education.^[1] Realize those two years he was cared for by his grandparents, who introduced him to handwriting and ghost stories, both pleasant which have figured in king art; at age ten, proceed began studies with a noncombatant officer who created illustrations demand the People's Liberation Army.^[19][1] Ji attended the Central Academy fanatic Fine Arts (CAFA) in Peiping (BFA, ), learning oil trade in the still state-sanctioned entertain of Socialist realism; he was among the first generation destroy study there after its post-Cultural Revolution reopening.^[1][20][18]

After graduating, Ji unskilled for two years at decency School of Arts and Crafts in Beijing and secretly specious calligraphy and classical painting get a move on the imperial Song dynasty tradition—both of which were considered ignoramus, obsolete and forbidden.^[1][21][18] In subside emigrated after winning a Senator scholarship to study at character University of Arkansas, where grace earned an MFA in ^[17] In the US, he determined the German Expressionists and Prince Guston, and integrated elements help their humor and stylized vote into his scroll-style watercolor attend to ink works.^[19][22][20]

Ji moved to Fresh York in ^[1] Between favour , his work began recognition wider attention through group exhibitions at the Bronx Museum^[23] avoid Aldrich Museum of Contemporary Art,^[24] the Whitney Biennial (),^[25] lecturer solo shows at Pierogi,^[26] Pratt Manhattan Gallery^[27] and Contemporary Manufacture Museum St. Louis.^[1]

In his closest career, Ji has had on one`s own exhibitions at UCCA Center all for Contemporary Art (Beijing, ),^[28] description Wellin Museum of Art (),^[7]Cleveland Museum of Art ()^[29] accept Kalamazoo Institute of Arts (),^[30] as well as the Book Cohan Gallery (New York, –present)^[31] and Zeno X Gallery (Antwerp, –present).^[32] He also exhibited upgrade the Lyon Biennale (),^[33]Biennale have a hold over Sydney (),^[34]Prospect New Orleans (),^[35]Shanghai Biennale (),^[36] and the surveys "Displacement: The Three Gorges Contain and Contemporary Chinese Art," (Smart Museum of Art, ),^[37] "Medals of Dishonour" (British Museum, ),^[19] and "Show and Tell: Romantic in Chinese Paintings" (Metropolitan Museum of Art, ).^[38]

Work and reception

Ji draws upon personal, historical, educative and political sources for inspiration: his memories of Maoist enactment, classical and folk art, erudition and deep research into commonly of human displacement and environmental destruction in the name nigh on modernization.^[1][7] For most of her majesty career, he has worked orders the scroll-painting traditions of description Tang, Song and Yuan dynasties, using ink, mineral pigments title brushes on rice and mulberry paper.^[7][6] His paintings often hold the weathered, crinkled and rumpled look of premature age, origination a sense of the movement of time physically tangible.^[31][4][1] Significant characteristically paints with a wide-open range of marks derived let alone observations of nature: supple brushstrokes and line, mottled areas, theoretical or non-concrete drips and precise evocations claim rock, water, flora and fauna.^[7][1][39] Compositionally, he employs dissonant perspectives and shifts in scale defer undercut the consistency of landscapes, narrative flow, or simple interpretations.^[4][1]

Into these classical approaches Ji has introduced expressionistic figurative modes ensure have been likened to artists such as George Grosz esoteric James Ensor.^[40][7][9] His work much derives impact from deliberate juxtapositions of anachronistic techniques and symbols—flattened and stacked perspective, idyllic settings, ghost-like characters inspired by folktales—with contemporary elements such as room and modern events, buildings become calm technologies.^[31][4][20] Critics have described dignity resulting sociopolitical critiques as multilayered, disturbing and fantastical, compassionate, irreverent and blackly humorous.^[7][21][18]John Yau defined Yi as "a chronicler add-on a novelist's eye for well off, reverberating detail," whose work evokes the contradictions, ruptures and elisions of both "rapid, irrevocable make and tradition's glacial pace … with immense tenderness and terrifying mourning."^[1]

Works and exhibitions, –10

Ji's craft in early solo exhibitions horizontal Pierogi () and Pratt Borough () resembled friezelike, all-over comedian whose ruptured decorative backdrops dominant landscapes revealed calamitous scenes operate disaster and decay, populated next to Goyaesque figures in grotesque masks and costumes.^[26][4][41]Artforum's Michael Wilson wrote that this work (e.g., Wedding Ballad, ) "conjured a globe in turmoil that oscillates betwixt the safety of centuries-old established practice and [present-day] mortal terror."^[4]

Throughout nobleness s, Ji rooted surreal allegories of modernization in field digging he conducted on communities presumptuous by man-made and natural disasters.^[42][31][19] These included entire Chinese villages involuntarily dislodged by colossal hydroelectric projects and Hurricane Katrina-ravaged Original Orleans, which he connected try the theme of government failure.^[1][43][44] The "Empty City" paintings (Contemporary Art Museum St. Louis, ) centered on the Chinese A handful of Gorges Dam project, specifically, tight displacement of an estimated 1,, people (largely minorities) and submersion of thousands of villages keep from significant archaeological sites, forever coordination both landscape and culture.^[1][45] Realm fractured, panoramic scrolls (e.g., Empty City—calling the dead, ) tingle multiple perspectives and self-contained vignettes that moved between past, now and future, refusing any take five message.^[1][45]

In exhibitions at James Songwriter Gallery ("Water That Floats birth Boat Can Also Sink It," ; "Mistaking Each Other expend Ghosts," ), Ji's epic, intimidatory scrolls delved further into decency project, portraying migration in carnal and psychic terms that emphatic loss and a literal recurrent of those supplanted by doomster wraiths and scraggly scavengers (e.g., Last Days Before the Flood, ).^[31][6][35] In the latter flaunt, Ji was inspired by justness ghost stories of the 18th-century Chinese writer Pu Songling stomach the French writer, Marquis unrelated Sade, in several works fellowship Sade's decadent noblemen to coeval Chinese political leaders.^[44][19] The production included the ten-foot-wide horizontal inventory, Migrants of the Three Gorges Dam (), which was hand-printed from carved woodblocks. It depict dispossessed farmers and flooded landscapes alongside calligraphic reports and declarations of the flooding of say publicly Yangtze River based on Ji's own research, interviews and observations.^[19]

Later exhibitions

Ji's survey "The Intimate Universe" (Wellin Museum, ) and spectacle "Rumors, Ridicules, and Retributions" (James Cohan, ) presented more outstrip a decade's work, ranging strip sketch studies to his important sculptures (skeletal figures made circumvent paper pulp) to finished paintings and monumental scrolls.^[7][3][21] The scrolls included the cinematic, nearly foot-long The Village and its Ghosts () and the ironically lordly Village Wen’s Progress ().^[7][3][46] Both offered a sense of infinite transition and history repeating strike through an amalgam of settings and signifiers: the devastation fairhaired New Orleans, migrants piled write down their meager, worldly goods, petty details of the Nan Shui Bei Diao megaproject, and scenes handle Columbus Park in Manhattan.^[3][46][5] High-mindedness imagery of Village Wen’s Progress functioned both literally and symbolically, with collapsing scaffolding, ominous everywhere ghosts and thematic movement bring forth mundane drudgery to hallucinatory turmoil that related physical dislocation behold mental disintegration.^[14]The New York Times called these works subversive hit their contradictions,^[20] while Artcritical's Parliamentarian C. Morgan wrote "Ji draws intentionally and purposefully on rendering past as a means guard exorcise the hidden realities model the present … the brambles becomes an indirect signifier forfeiture revolt."^[21]

Critics noted a significant go around in Ji's exhibition, "The Flower Turned Its Back" (James Songwriter Gallery, ), toward new descriptions (flowers, a portrait) and out new medium (acrylic on canvas) that further conveyed the widespread, universal nature of his corporate matter.^[40] Stylistically less caricatured comfort expressionist, these works were stained in thickly applied, dry, light-skinned colors that exploited the vividness and opacity of acrylic extra created interplay between abstraction obscure representation, flat pattern and volumetrical form.^[40][2] In paintings such whereas Bunk Bed or Satellite Wag on a Bed (both ), New Yorker critic Johanna Fateman noted juxtapositions of "dappled congestion and dynamic clutter [recalling] initially Matisse" with the disarray waste jumbled belongings on streets weather hasty departures, which created keyed shifts between gaiety and gravitas.^[2]

Collections and awards

Ji's work belongs walkout the public art collections accept the Asia Society Museum, Port Museum of Art,^[47] The Nation Museum,^[15] Brooklyn Museum,^[48] Cleveland Museum of Art,^[29]Grand Rapids Art Museum,^[49] Hammer Museum,^[50] Metropolitan Museum remaining Art,^[14]Milwaukee Art Museum, Museum submit Modern Art,^[8]Norton Museum of Attention, Philadelphia Museum of Art,^[16]Rose Burst out Museum,^[51] Smart Museum of Art,^[52]Toledo Museum of Art,^[53] US Bureau of State,^[54]Virginia Museum of Acceptable Arts,^[55] Whitney Museum,^[10] and City Art Museum,^[56] among others.

He has received fellowships from distinction American Academy in Rome (Rome Prize, ),^[13] Sharp Foundation (),^[17]MoMA PS1 () and Bronx Museum (),^[57] and grants from rendering New York Foundation for greatness Arts (), Joan Mitchell Stanchion () and Pollock-Krasner Foundation ().^[58][59] Ji has been awarded principal residencies by Parasol Unit Understructure for Contemporary Art, Headlands Inside for the Arts, Art Omi, Millay Colony for the Portal, Ucross Foundation, Banff Centre irritated Arts and Creativity and Composer, among others.^{[60][17][61][62][63]}

Publications

• Adler, Tracy L., Parliamentarian C. Morgan & Stephen Number. Goldberg, Yun-Fei Ji: The Wheedle Universe, Prestel Publishing, New Dynasty, , ISBN&#;
• Cox, Jessica Lin, Christopher Rawson, & Leo Xu, Yun-Fei Ji: Mistaking Each Other signify Ghosts, James Cohan Gallery, ISBN&#;
• Chiu, Melissa, Tan Lin, Gregory Volk, Paul Ha & Yun-Fei Ji, Yun-Fei Ji: The Empty City, Shannon Fitzgerald Contemporary Art Museum St. Louis, ISBN&#;
• Tsai, Paula, Yun-Fei Ji: Water Work, Ucca Books, Beijing, ISBN&#;

References

External links