Podcast appearances and mentions of joan kee

Joan Kee, University of Michigan art historian and current Ford Foundation Scholar in Residence at the Museum of Modern Art, talks about: Her residency at MoMA, where she has been looking into expanding their programming to include art that is more international/not from the U.S., but from the ‘global majority;' her career trajectory, from art history in undergrad to law school and then corporate lawyer for long enough to pay off her $100+K in debt, a calculation she was able to make partially due to her poker-playing experience); the obstacles she faced getting into a PhD art history program with her focus on modern and contemporary Korean art, and how she strongly believes that tuition for BA and MA programs are completely out of control (for out-of-state students at U. or Michigan, where she teaches, it's currently 70K/year); her interest and expertise with emojis, including her repeated attempts to get a kimchi emoji approved by Unicode, the world text and emoji consortium (she also taught emojis in a graduate seminar); artists working in emojis, including Rachel Maclean, Laura Owens, John Baldessari and Antoine Catala, the latter whose work she calls the best emoji work she's ever seen; the benefits and challenges of living in Detroit, and why she chose to live there instead of Ann Arbor, where she teaches; how she's the first full professor of color in her department; how her book, “Contemporary Korean Art: Tansaekhwa and the Urgency of Method,” was turned down nine times before it was accepted by U. of Minnesota Press, and subsequently led to a show she curated at Blum & Poe in L.A.; and the state of the art scene in Seoul, including the challenges for younger/smaller galleries' survival amidst a pricey real estate market that's regularly gentrifying.

In this episode, Caro Fowler (Starr Director of the Research and Academic Program at the Clark Art Institute) speaks with Joan Kee, professor of art history at the University of Michigan in Ann Arbor. Joan describes the influence of growing up in Seoul, Korea, but shares her uneasiness with centering a sense of self within art historical writing. She reflects on modes of description and their political resonances, and muses about the specific strengths and limitations of art history, particularly when it comes to categories like “global contemporary” or an assumption of a unified “we” within the discipline. Finally, she shares current projects, including one on Black and Asian artistic intersections from the early 1960s to the present.

The Research and Academic Program at the Clark Art Institute presents In the Foreground: Object Studies:  short meditations that introduce you to a single work of art seen through the eyes of an art historian.Joan Kee (University of Michigan) delves into how Chao-Chen Yang's color photograph Apprehension (c. 1942) captures the feeling of surveillance, silencing, and precarity, particularly as experienced by those who are Asian in the United States, whether during World War II or today. 

Joan Kee is the rare combination of art historian and lawyer, and she's shared her skills in her new book, Models of Integrity: Art and Law in Post-Sixties America, which examines the legal issues major contemporary artists (from Tehching Hsieh to Felix Gonzales-Torres) have confronted in the past 60 years.Kee's research shows that since the 1960s, as artist projects have become more expansive and expensive, the world of lawyers and laws is becoming a bigger part of the equation. From discussions of Christo and Jeanne-Claude's "Running Fence" land art project (they actually had offers to place the project elsewhere, which would've been a lot easier) to Gordon Matta-Clark's Fake Estates micro-real estate project (there is no evidence the artist did or did not want to present this as an artwork), Kee's research demonstrates that the history of art has increasingly been intertwined with its legal realities.A special thanks to Brooklyn-based musician SunSon for providing the music to this episode, and you can check out his website sunson.band. You can also follow him on Facebook or Instagram.This and more in the current episode of our weekly Art Movements podcast.Subscribe to Hyperallergic’s Art Movements on iTunes, and anywhere else you listen to podcasts.

Steve and Katie have a wide ranging conversation with art historian and former lawyer, Joan Kee, about the topic of her new book, Models of Integrity: Art and Law in Post-Sixties America. Their conversation probes artists’ embrace and rejection of legal structures in contemporary America, as well as artistic indifference about and dependence on the law. Resources: https://lsa.umich.edu/histart/people/faculty/jkee.html https://www.amazon.com/Models-Integrity-Art-Post-Sixties-America/dp/0520299388 https://christojeanneclaude.net/artworks/realized-projects http://www.suzannelacy.com/early-works  

Joan Kee‘s new book is a gorgeous and thoughtful introduction to the history of contemporary art in Korea. Contemporary Korean Art: Tansaekhwa and the Urgency of Method (University of Minnesota Press, 2013) traces the creation, promotion, reception, and rhetoric of the work produced by a constellation of artists creating large,... Learn more about your ad choices. Visit megaphone.fm/adchoices

Joan Kee‘s new book is a gorgeous and thoughtful introduction to the history of contemporary art in Korea. Contemporary Korean Art: Tansaekhwa and the Urgency of Method (University of Minnesota Press, 2013) traces the creation, promotion, reception, and rhetoric of the work produced by a constellation of artists creating large, mostly abstract paintings in neutral colors from the mid-1960s to the mid-1970s. Kee opens up these works for readers by offering close readings of many important paintings and objects. In doing so, she teaches us how to see these works as methods, showing us how to visualize labor and process in an aesthetic product and pointing out ways that tansaekhwa artists were visualizing conceptions of time, space, materiality, and the agency of the viewer. Contemporary Korean Art also considers tansaekhwa in relation to the global circulation and translation of information about the art world beyond Korea, and explores how the postwar Korean art world dealt with the legacies of empire, nationalism, and colonization. It’s a beautiful and fascinating book. You can find a recent exhibition on tansaekhwa here. Learn more about your ad choices. Visit megaphone.fm/adchoices

Joan Kee‘s new book is a gorgeous and thoughtful introduction to the history of contemporary art in Korea. Contemporary Korean Art: Tansaekhwa and the Urgency of Method (University of Minnesota Press, 2013) traces the creation, promotion, reception, and rhetoric of the work produced by a constellation of artists creating large, mostly abstract paintings in neutral colors from the mid-1960s to the mid-1970s. Kee opens up these works for readers by offering close readings of many important paintings and objects. In doing so, she teaches us how to see these works as methods, showing us how to visualize labor and process in an aesthetic product and pointing out ways that tansaekhwa artists were visualizing conceptions of time, space, materiality, and the agency of the viewer. Contemporary Korean Art also considers tansaekhwa in relation to the global circulation and translation of information about the art world beyond Korea, and explores how the postwar Korean art world dealt with the legacies of empire, nationalism, and colonization. It’s a beautiful and fascinating book. You can find a recent exhibition on tansaekhwa here. Learn more about your ad choices. Visit megaphone.fm/adchoices