RESUME/BIO ______________________________________________________________
BIO
Born Seoul, Republic of Korea 1982
Lives and works in New York City, NY
EDUCATION
2010-2012 MFA in Painting, Pratt Institute, Brooklyn, NY
2008-2010 Certificate Fine Arts Printmaking The Art Students League of
New York, New York, NY
2008 Only 1st Year, MFA in Painting, Virginia Commonwealth
University, Richmond, VA
2005-07 Post-Baccalaureate, Maryland Institute College of Art, Baltimore,
MD
2001-05 BFA in Painting and Drawing, The School of Art Institute of
Chicago, Chicago, IL
EXHIBITIONS
2011 "CurateNYC 2011", Rush Arts Gallery, Chelsea, NY
"Fracture", a Collaboration of the History of Art and Design
Student Association and the Pratt Artist's League, Steuben
Graduate Gallery, Brooklyn, NY
"NO TREND", Pratt Artist League Fall 2011 Exhibition
Curated by Jamillah James, Steuben Graduate Gallery,
Brooklyn, NY
"The Pratt Harlem Project", 2280 Frederick Douglass Blvd,
Harlem, NY
"Inaugural Pratt Student Show", Hadas Gallery, Brooklyn, NY
"Layers",Dekalb Gallery, Pratt Institute, Brooklyn, NY
2010 First Year Exhibition, Pratt Institute, Brooklyn, NY
"Contemporary Female Mythologies", Primo Piano
LivinGallery for Contemporary Art, Lecce, Italy
2009 “Anima Mundi”, Primo Piano LivinGallery for Contemporary
Art, Lecce, Italy
Printmaking, Phyllis Harriman Mason Gallery, New York, NY
2008 “Lift Off!”, Plant Zero, Richmond VA
2007 “Unanimous Head Apparatus”, FAB Gallery, Richmond, VA
“Icosahdronl”, FOX 3 Gallery, Baltimore, MD
2006 “Twenty Three Resolutions”, FOX 3 Gallery,Baltimore, MD
Commencement Exhibition, Maryland Institute College of Art,
Baltimore, MD
Drawing, FOX 3 Gallery, Baltimore, MD
SELECTED EXPERIENCES
2010 Private art tutoring, Brooklyn, NY
2007
Art Teacher, Dream Art Institution (www.e-dreamart.com), Seoul,
Republic of Korea
2006 Art Teacher, Chicago, IL, 2003-2004
AWARD
2010 First Year Scholarship, Pratt Institute, Brooklyn, NY
2008 First Year Scholarship, Virginia Commonwealth
University, Richmond, VA
2005 Merit Scholarship, Maryland Art Institute College of Art, Baltimore
MD
BIO
Born Seoul, Republic of Korea 1982
Lives and works in New York City, NY
EDUCATION
2010-2012 MFA in Painting, Pratt Institute, Brooklyn, NY
2008-2010 Certificate Fine Arts Printmaking The Art Students League of
New York, New York, NY
2008 Only 1st Year, MFA in Painting, Virginia Commonwealth
University, Richmond, VA
2005-07 Post-Baccalaureate, Maryland Institute College of Art, Baltimore,
MD
2001-05 BFA in Painting and Drawing, The School of Art Institute of
Chicago, Chicago, IL
EXHIBITIONS
2011 "CurateNYC 2011", Rush Arts Gallery, Chelsea, NY
"Fracture", a Collaboration of the History of Art and Design
Student Association and the Pratt Artist's League, Steuben
Graduate Gallery, Brooklyn, NY
"NO TREND", Pratt Artist League Fall 2011 Exhibition
Curated by Jamillah James, Steuben Graduate Gallery,
Brooklyn, NY
"The Pratt Harlem Project", 2280 Frederick Douglass Blvd,
Harlem, NY
"Inaugural Pratt Student Show", Hadas Gallery, Brooklyn, NY
"Layers",Dekalb Gallery, Pratt Institute, Brooklyn, NY
2010 First Year Exhibition, Pratt Institute, Brooklyn, NY
"Contemporary Female Mythologies", Primo Piano
LivinGallery for Contemporary Art, Lecce, Italy
2009 “Anima Mundi”, Primo Piano LivinGallery for Contemporary
Art, Lecce, Italy
Printmaking, Phyllis Harriman Mason Gallery, New York, NY
2008 “Lift Off!”, Plant Zero, Richmond VA
2007 “Unanimous Head Apparatus”, FAB Gallery, Richmond, VA
“Icosahdronl”, FOX 3 Gallery, Baltimore, MD
2006 “Twenty Three Resolutions”, FOX 3 Gallery,Baltimore, MD
Commencement Exhibition, Maryland Institute College of Art,
Baltimore, MD
Drawing, FOX 3 Gallery, Baltimore, MD
SELECTED EXPERIENCES
2010 Private art tutoring, Brooklyn, NY
2007
Art Teacher, Dream Art Institution (www.e-dreamart.com), Seoul,
Republic of Korea
2006 Art Teacher, Chicago, IL, 2003-2004
AWARD
2010 First Year Scholarship, Pratt Institute, Brooklyn, NY
2008 First Year Scholarship, Virginia Commonwealth
University, Richmond, VA
2005 Merit Scholarship, Maryland Art Institute College of Art, Baltimore
MD
Artist Statement
Judy Yang's gouache paintings and etchings are the representation of her romantic and intuitive analysis between the sublimed realm and the imagined cosmos. They are not descriptions of what she sees but the expressional interpretation of the world that she experiences. She takes the world in and projects into the world through her artworks. She strongly believes that the artwork do not need to satisfy any purpose but stand as their own creation of forms and color through conflicting marks, awareness, observation and perception of the reality. She uses the synthesis of design to create her artworks, which means she analyzes the design and information by organizing them conceptually within the expressive composition.
She considers that paintings and etchings are two different sides of the same conversation of the subject matter and are a dialogue between the artist and the artwork. Her etchings are integral to the paintings for organizing the compositions of forms before she starts the painting. The etching is a very flat medium to work on, and the challenges are how much she can push her organic forms and layers with different effects from techniques so that she can transfer and combine the unique language in her prints into the painting.
The composition is directly chosen by the intuition of the artist with her eagerness toward the achievement of the stylistic substance that expresses the depth, the perspective, and the chiaroscuro in description and interpretation of her realm. She uses the dense colors to display a strong contrast in the illumination of light and dark areas in the flat field of the canvas. She treats the studio practice as a ritual act. Formalistically, she prepares her canvas and copper plates as clean and flat as possible. Then, she creates the first layer of her forms, covering them over with the new layers, and she repeats this process until she reaches the point that the layering loses its originality of simplification, not simplicity but becoming complex and harmonized forms.
Both the shapes and colors are considered as the blueprint of the artist's ongoing research of creating her own abstract language to express her own internal realm. She collects drawings, books, documentaries, and films that analyze either the psychology of the human or the symmetry, structure and architecture of rare spices, the human body, and bacteria forms in the Deep Ocean or canvas.
The canvas and the prints function as like a stage and microscope lenses, which allow viewers to enter into the colorful and the complex scenery of the artist's realm. The artworks resemble the conflicted motions of the organic creatures and bacterial forms in the deep ocean and the interior of the human body. This resemblance results from her obsession with inconsistent layering of the abstracted shapes and exaggerated color patterns on the flat surface. Naturally the interaction between the vivid colors and singular shapes emerged into the illusionary field that displays the movement in the imaginary depths.
Her artworks are not an imitation or an illustration of nature but an experimental interpretation of the world working with the purity of expression. They are the internal structure of their own being that expresses the color harmony and the rhythmic motion of forms, which illustrate the artist’s, imagined realm. She desires her works to be meaningfully merged into own individual pieces of work that distinguished from the trendy artwork that limits the imagination. She seeks to bring out the childlike character of each individual who engages with her artwork.
She considers that paintings and etchings are two different sides of the same conversation of the subject matter and are a dialogue between the artist and the artwork. Her etchings are integral to the paintings for organizing the compositions of forms before she starts the painting. The etching is a very flat medium to work on, and the challenges are how much she can push her organic forms and layers with different effects from techniques so that she can transfer and combine the unique language in her prints into the painting.
The composition is directly chosen by the intuition of the artist with her eagerness toward the achievement of the stylistic substance that expresses the depth, the perspective, and the chiaroscuro in description and interpretation of her realm. She uses the dense colors to display a strong contrast in the illumination of light and dark areas in the flat field of the canvas. She treats the studio practice as a ritual act. Formalistically, she prepares her canvas and copper plates as clean and flat as possible. Then, she creates the first layer of her forms, covering them over with the new layers, and she repeats this process until she reaches the point that the layering loses its originality of simplification, not simplicity but becoming complex and harmonized forms.
Both the shapes and colors are considered as the blueprint of the artist's ongoing research of creating her own abstract language to express her own internal realm. She collects drawings, books, documentaries, and films that analyze either the psychology of the human or the symmetry, structure and architecture of rare spices, the human body, and bacteria forms in the Deep Ocean or canvas.
The canvas and the prints function as like a stage and microscope lenses, which allow viewers to enter into the colorful and the complex scenery of the artist's realm. The artworks resemble the conflicted motions of the organic creatures and bacterial forms in the deep ocean and the interior of the human body. This resemblance results from her obsession with inconsistent layering of the abstracted shapes and exaggerated color patterns on the flat surface. Naturally the interaction between the vivid colors and singular shapes emerged into the illusionary field that displays the movement in the imaginary depths.
Her artworks are not an imitation or an illustration of nature but an experimental interpretation of the world working with the purity of expression. They are the internal structure of their own being that expresses the color harmony and the rhythmic motion of forms, which illustrate the artist’s, imagined realm. She desires her works to be meaningfully merged into own individual pieces of work that distinguished from the trendy artwork that limits the imagination. She seeks to bring out the childlike character of each individual who engages with her artwork.
THOUGHTS BEHIND JUDY'S WORK
Judy Yang's work comes from a practical contemporary understanding of materials and a romantic intuitive interpretation of her world. Her choice of materials for her three dimensional 'paintings' comes from a belief that an artist should chose the most suitable material available to achieve the desired result. She models the small colored details in sculpty clay rather than paint because to her it isn't important that the raw material she uses comes squeezed from a tube, sifted from a box and baked or carved from wood. Categories of painting, sculpture, mixed media and drawing aren't limitations she intentionally challenges. That her vision is expressed by her work and within the viewers experience with them is what she desires. Judy seeks to communicate to the viewer her interest in the nature of beauty, ugliness, joy, pain, death and the wide range of life experience. One of her main concerns is with understanding the materials she uses in order to achieve that result.
Mastery of materials and technique is today often derided as 'slick'. Judy's work counters that perception by being seriously thought out, culturally complex and well crafted while at the same time playfully innocent. They are a mix of western and Asian influences drawn from Victorian antiques, modernism, spiritualism, traditional Asian work, movies, careful observation and cartoons. She manages the difficult task of meaningfully merging her influences without creating superficial 'identity' art. This mixing of cultures and influences in art is as old as recorded history. As a member of a generation of Koreans who have been transplanted to America at an early age (in order to study) she offers a new and unique perspective pertinent to our times.
Influenced & Taught by:
Phillips, Anthony
Tremonto, Roxie
Wirsum, Karl
Phillips, John
Mackey, Fletcher
Tisa, Kennneth B.
Neill, Christine
Hyde,James
Kiese, Silya
Dorfman, Bruce
Pellettieri, Michale
Pantell, Richard
Melby, Jennifer
O'Connor, John
White, Christopher
Francis, Linda
Meade,Nat
Mastery of materials and technique is today often derided as 'slick'. Judy's work counters that perception by being seriously thought out, culturally complex and well crafted while at the same time playfully innocent. They are a mix of western and Asian influences drawn from Victorian antiques, modernism, spiritualism, traditional Asian work, movies, careful observation and cartoons. She manages the difficult task of meaningfully merging her influences without creating superficial 'identity' art. This mixing of cultures and influences in art is as old as recorded history. As a member of a generation of Koreans who have been transplanted to America at an early age (in order to study) she offers a new and unique perspective pertinent to our times.
Influenced & Taught by:
Phillips, Anthony
Tremonto, Roxie
Wirsum, Karl
Phillips, John
Mackey, Fletcher
Tisa, Kennneth B.
Neill, Christine
Hyde,James
Kiese, Silya
Dorfman, Bruce
Pellettieri, Michale
Pantell, Richard
Melby, Jennifer
O'Connor, John
White, Christopher
Francis, Linda
Meade,Nat
