GENERAL DESCRIPTION
In this grouping of work from 2006, artist Yuki Kimura attempts to bring photography into the sculptural realm. First, she removes a portion of the photographic image and props it directly on the gallery floor, and second, she gives the photographic image a physical “shadow.” Formally these works echo the planks of minimalist sculptor John McCracken, but conceptually they follow the surrealist logic of the found object. Viewed through a Freudian lens of psychoanalysis, the holes in these images elicit a sense of desire—for them to be filled, to become whole or complete—while at the same time doubling as an opening, a door that opens onto another world. Commenting on this body of work, the artist has stated, “I want to invent another, new story by playing with the images collected and at hand. I think of the work as a door to the world.”
In the post-disembodiment series, Kimura’s photographs read first as an image (door), then as material (wood), and finally as immaterial (shadow). The artist’s conceptual exploration of image and shadow, presence and absence, reveals latent physical and psychological dimensions of photography and questions the tenets of the medium in thought-provoking new ways.
Excerpt from
- Anna Katherine Brodbeck, ed., TWO X TWO X TWENTY: Two Decades Supporting Contemporary Art at the Dallas Museum of Art (Dallas: Dallas Museum of Art), 2018, 200.
NOTES
Catalogue essays
Artist/designers
Cultures
Geography
Process/materials
Historical periods
Individuals
Subject terms
RELATED OBJECTS
PROVENANCE
AUDIO ASSETS
VIDEO ASSETS
IMAGE ASSETS
WEB RESOURCES
- Taka Ishii Gallery~Learn more about Kimura and her practice.
ARCHIVAL RESOURCES
FUN FACTS
TEACHING IDEAS
RULES
Apply to objects where number equals 2012.52.1
Category
rules_operator
AND
General Description
In this grouping of work from 2006, artist Yuki Kimura attempts to bring photography into the sculptural realm. First, she removes a portion of the photographic image and props it directly on the gallery floor, and second, she gives the photographic image a physical “shadow.” Formally these works echo the planks of minimalist sculptor John McCracken, but conceptually they follow the surrealist logic of the found object. Viewed through a Freudian lens of psychoanalysis, the holes in these images elicit a sense of desire—for them to be filled, to become whole or complete—while at the same time doubling as an opening, a door that opens onto another world. Commenting on this body of work, the artist has stated, “I want to invent another, new story by playing with the images collected and at hand. I think of the work as a door to the world.”
In the post-disembodiment series, Kimura’s photographs read first as an image (door), then as material (wood), and finally as immaterial (shadow). The artist’s conceptual exploration of image and shadow, presence and absence, reveals latent physical and psychological dimensions of photography and questions the tenets of the medium in thought-provoking new ways.
Excerpt from
- Anna Katherine Brodbeck, ed., TWO X TWO X TWENTY: Two Decades Supporting Contemporary Art at the Dallas Museum of Art (Dallas: Dallas Museum of Art), 2018, 200.
Fun Facts
Archival Resources
Web Resources
Notes
Catalogue essays
Artist/designers
Cultures
Geography
Process/materials
Historical periods
Individuals
Subject terms
RELATED OBJECTS
PROVENANCE
AUDIO ASSETS
VIDEO ASSETS
rules
Apply To
Objects
number
Equals
2012.52.1
source file
object_notes_1_b-0094.xml.nores