RE: Carrie Yamaoka
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A long-overdue publication by a founding member of feminist collective fierce pussy, Yamaoka's first monograph explores the artist's cross-disciplinary creative practice over several decades. Initially a student of photography and fascinated by the camera's ability to record and its inability to represent, Carrie Yamaoka has expanded her practice to explore themes of record and transformation across painting, sculpture, and installation. Her eye-catching, sometimes technically incomprehensible works examine how materiality, process, and form connect by calling to the viewer's attention the…mehr

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Produktbeschreibung
A long-overdue publication by a founding member of feminist collective fierce pussy, Yamaoka's first monograph explores the artist's cross-disciplinary creative practice over several decades. Initially a student of photography and fascinated by the camera's ability to record and its inability to represent, Carrie Yamaoka has expanded her practice to explore themes of record and transformation across painting, sculpture, and installation. Her eye-catching, sometimes technically incomprehensible works examine how materiality, process, and form connect by calling to the viewer's attention the topography of surfaces, the tactility of the barely visible, and the chain of planned and chance incidents that determine the outcome of an art object. On view, Yamaoka’s artworks can both reflect and become the spaces in which they are displayed. Often revisiting her earlier works after five, ten, or twenty-five years, the artist is known for converting paintings into sculpture, texts into photograms, or the recto of a piece into the verso, ultimately questioning how the visual experience and orientation of an object defines its form for an audience. Yamaoka is an original member of fierce pussy, a collective of queer women artists founded in 1991. Launched during the AIDS epidemic and political mobilization around LGBTQ+ rights, fierce pussy used readily available materials—old typewriters, found photographs, printing supplies, and other day job equipment, for example—to bring lesbian visibility to the streets. The collective consists of Nancy Brooks Brody (1962-2023), Joy Episalla, Zoe Leonard, and Carrie Yamaoka and it continues to produce work in the present. Yamaoka's work is included in the collections of the Buffalo AKG Museum, Art Institute of Chicago, Whitney Museum, Dallas Museum of Art, Henry Art Gallery, and Centre Pompidou.
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Autorenporträt
Carrie Yamaoka (b. 1957, she/they) works at the intersection between records of chemical action/reaction and the desire to apprehend a picture emerging in fleeting and unstable states of transformation. Her work has been featured in exhibitions at the ICA Philadelphia, MoMA PS1, Palais de Tokyo, Henry Art Gallery, Artists' Space, Centre Pompidou, Wexner Center for the Arts, Leslie Lohman Museum, Victoria & Albert Museum, Fondation Ricard, and MassMOCA. Writing about her work has appeared in The New York Times, Artforum, Art in America, Artnews, The New Yorker, Time Out/NY, Hyperallergic, Interview and BOMB. Yamaoka is the recipient of a John Simon Guggenheim Fellowship (2019) and an Anonymous Was A Woman award (2017). She is represented by galleries Commonwealth and Council, Ulterior, and Kiang Malingue. She lives and works in New York. Artist-theorist and historian Jill H. Casid is Professor of Visual Studies in the Departments of Art History and Gender & Women’s Studies at the University of Wisconsin–Madison. Casid researches across writing, photography, and film that is dedicated to queer, crip, trans*feminist, and decolonial interventions. Claire Grace is an art historian specializing in art from the 1960s to the present, primarily in US contexts, and with a particular focus on intersections between aesthetic practices and social and political intervention. She is currently a faculty member of the Art & Art History and American Studies Departments at Wesleyan University. Élisabeth Lebovici (born 1953) is a French art historian, journalist, and art critic. Her research examines gender and sexuality, and the relationships between feminism, queer theory, art history, and contemporary art. She has authored numerous monographic studies on contemporary artists and teaches at the School for Advanced Studies in the Social Sciences. Josiah McElheny (b. 1966) is an artist whose sculptures, paintings, installations, performances, and films engage with the history of ideas across literature, architecture, music theory, and astronomy. His works often combine glass or mirror with other materials, to emphasize the importance of the act of looking “as a subject in and of itself.” For McElheny, a skilled glassblower, the material serves as a productive agent, inciting chance encounters between forms and ideas that point toward alternative histories and futures. Jo-Ey Tang (b. 1978) is a Hong Kong-born American curator, artist, and writer. In thinking with and alongside artists, he calibrates and reimagines the encounters of divergent and resonant artistic practices in multiple, overlapping temporalities. After working at The Notary Public, n+1, the Palais de Tokyo, and the Beeler Gallery, he currently serves as director of KADIST San Francisco.