Upcoming/Recent Exhibitions & Events

The Pollock -Krasner Foundation recipient 2023-2024
I am truly honored to receive a 2023-2024 grant from the Pollock-Krasner Foundation.
Lee Krasner was committed to supporting the work of the generations of artists who would come after her, and she established the Pollock-Krasner Foundation to provide vital funding for emerging, mid-career, and established artists. In support of Lee Krasner’s mission to advance the work of visual artists, the Pollock-Krasner Foundation is honored to provide support to the growing list nearly 5,000 #PKFGrantees who have received $85 million across 79 countries to-date. 

Image: Lee Krasner in Hans Hoffman’s studio, early 1940s. Photo ©Robert E. Mates and Paul Katz. Lee Krasner artwork ©Pollock-Krasner Foundation/ARS. Image courtesy of the Pollock-Krasner Foundation.




Acquired by the National Gallery of Art, Washington D.C.

Barbed Wire Series, 2018, Offset Litho, each print: 22 x 29 1/2 inches, Master printer. Alex Kirillov @artura.org




Included in The Circle of Life, Art Mora, NJ, June 24 – July 25, 2023

Road Trip 4 prints from the suite set of 8 prints, 2016




Included in Shift: Artists Explore the Complex Condition of Human Migration, Curated by Greg Lock, Tremain Art Gallery, Hotchkiss High School, CT, January – March, 2023

Installation View at Tremain Art Gallery, Hotchkiss High School, January 2023




Included in Ricepaper Airplane: Korean Diaspora, directed by Taeho Lee, Special Exhibition by Inchon Art Platform in commemoration of the 120th anniversary of Korean Immigration
Inchon Art Platform Gallery 1, IAP Square, September 30 – November 27, 2022

Passersby-1, 2022, two sequential prints from 46 drypoint prints on BFK yellow paper, each print: 13 x 19 inches




Included in Creating Urgency: Modern and Contemporary Korean Art, The Cleveland Museum of Art, OH, April 22 – Oct 23, 2022

A Suite Set of Dance, Dance, Dance, Drypoint on Copperplate white paper
Installation View at the Cleveland Museum of Art, OH, 2022



Included in Artists Draw Their Studios, curated by Michelle Weinberg, Hewitt Gallery, Marymount Manhattan College, NY, April 6 – May 6, 2022

Moving Day, 2022, Drypoint on Hanji in an edition of 3, 7 1/4 x 15 inches




Included in “place, memory & identity“: contemporary Korean-American women artists, Richardson Family Art Museum, Wofford College, SC, Sept 1 – Dec 15, 2021




Included in Gupo Media Art Festival, Busan, South Korea, May 14 – June 16, 2021

Barbed Wire Series, 2019-2021, Redited as a Single-Channel Animation, Charcoal on paper, RT: 3:19 sec., B/W, Sound recorded from the DMZ in South Korea
Palgongsan Series, 2015-2021, reedited as a Single-Channel Animation, Graphite on Paper, B/W, Sound




Featured in the Library of Congress Prints & Photos Blog, “Speaking through Images: Asian American Photographers and Printmakers at the Library of Congress”, Adam Silvia & Katherine Blood, May 13, 2021

Untitled – Grand Army Plaza Brooklyn NY 03 2009, 2009, 156 prints in an edition of 3
Drypoint on Hahnemuhle Copperplate bright white paper
Image: 3 ¾ x 15 ¾ in., Paper: 7.5 x 22 in




Included in Out Loud, a virtual exhibition benefiting AAAJ, curated by Jiha Moon, Atlanta Contemporary, Atlanta, GA, May 3 – Aug 1, 2021

Hana’s Ride, 2014-2015, 327 Prints in a master edition A Suite Set of 16 Prints in an edition of 8 Drypoint on Hahnemühle Copperplate bright white paper
Image: 5 x 16 3/4in., Paper: 12 x 22 1/4in.



Included in Old Ponies :: New Tricks :: 2020 A Spring Meeting of Animations:
“In spring 2020 everybody stays in due to the Corona pandemic. 
But Lines Fiction artists are coming together to present moving images for everybody to keep in touch with art online. Enjoy!”
https://linesfiction.de/lf/index.php/old-ponies-new-tricks-2020-a-spring-meeting-of-animations?fbclid=IwAR1P5TEornDadTsujTHFV5XQxFpZcJRjVhJQwjXYM-CS7uZJD-3sPYnQqAY



Picture Time: a two-person exhibition, curated by Sun You, featuring new work by artists Kakyoung Lee and Buhm Hong, Tiger Strikes Astroid gallery, Brooklyn, NY
Feb 14 – March 22, 2020




Burning Island (2008, animation) is included in the screening ‘Video Forever 41‘, curated by Barbara Polla @GalerieAnalixForever, Switzerland, July 10, 2019, Wed 7pm, for more info: analixforever@bluewin.ch



Stillness/Movement: Contemporary Works from the Korean Cultural Center, AHHA Tulsa Museum, OK, June-July, 2019


“Opening” Two-Channel Animation, Installation View at the AHHA Tulsa Museum 2019


Tangled and Hidden: Solo show, Artspace C, Jeju, Korea, June 10 – June 23, 2019


Biography / CV

<Biography>

Born in South Korea, Kakyoung Lee (she/her) is a Brooklyn-based artist with a background in printmaking. Her practice spans printmaking, animation, video, and installation. Interdisciplinary engagement with print and time-based work is central to her research and studio practice.

Lee holds her BFA and MFA in printmaking from Hong-Ik University, as well as an MFA from SUNY-Purchase College, NY.  She has exhibited in numerous exhibitions internationally, including at the Drawing Center, New York; Hofstra University, Hempstead; Kunsthalle Bremen, DE; Mass MOCA, North Adams; Metropolitan Museum of Art, New York; Museum of Contemporary Art, Banja Luka, Bosnia; Museum Folkwang, Essen, DE; Museum of Modern Art, New York; Oqbo, Berlin, DE; Queens Museum, New York; and Seoul Arts Center, Korea. She has been invited to numerous artist residencies including Omi, NY; ISCP, Brooklyn, NY; Jamaica Center for Arts and Learning, Queens, NY; Marie Walsh Sharp Foundation, Brooklyn, NY; MacDowell Colony, NH; Yaddo, NY.  She received the Pollock-Krasner Foundation grant, NYFA Fellowship, the Ahl Foundation grant, and the KAFA award.  She was the 2017 recipient of the American Academy of Arts and Letter Purchase Award. 

Lee’s works have been featured in the Library of Congress blog, Art in Paper, Hyperallergic, and Printeresting.com. Lee’s prints and moving images have been included in the collections of Asia Society Museum, New York; McNay Art Museum, TX; the Metropolitan Museum of Art, New York; Cleveland Museum of Art, Ohio; Jeju 4.3 Memorial in Jeju, Korea; and the Library of Congress, Washington D.C. among others.

<Curriculum Vitae>

Lee CVDownload

Artist Statement

Over the past decades, my creative research and practice have focused on overlapping and accumulating non-historical layers of everyday images that I capture from my surroundings. Based on the notion of living in the present, I focus on invisible and non-historical mundane moments and their movements in the present, which are constantly becoming the past.  Seeing my parents work at their hardware store seven days a week and growing up in exclusively rural communities in South Korea, my art practice has been influenced to reflect the non-historical lives of people. Living as a person of color, as an Asian American in the States, I feel that part of my identity is quiet, unseen, and invisible by this culture. I am interested in capturing those present moments and rendering them visible on screen, constantly appearing, evolving, aging, disappearing, and repeating on said screen.

With racial and social context as a departure point of my practice, I employ time & labor-intensive meticulous techniques such as stop motion animation. I often compose print animations and multi-channel installations with hundreds of drawings and prints with sound. I explore the sound and movement of the figurative or abstract lines and silhouettes of everydayness in site-specific areas such as vacant storefronts and residential areas. I examine and research the relationship between non-historical and historical layers in the different geographical and cultural environments through which I have lived and passed between my two home countries, South Korea and the United States.

Images

Recent Works

For additional images and video works, please check https://vimeo.com/kakyounglee/videos
https://www.instagram.com/kakyounglee/

<Smoke Series>

Smoke Series – 2
2019, Single Channel Animation based on a footage of Underwater Eruption in Hawaii in 2018
120 Charcoals on Paper, B/W, No Sound, 2min
Smoke Series – 1
2018, Single Channel Animation based on a footage of California Fire in 2017
100 Charcoals on Paper, B/W, No Sound, 42 sec.
Smoke Series – 1, 2018, Installation View
Smoke Series – 1 Installation in Detail


<Barbed Wire Series>

Barbed Wire Series
2019, Two-Channel Animation Installation: 2 monitors on top of bricks, Charcoals on Paper, B/W, Sound, 1min, *Sound was recorded from DMZ area in South Korea.
Barbed Wire Series – Print Installation, 2018
Barbed Wire Series – A Set of Two Prints, 2018, Offset Litho, each print: 22″ 1/2 x 34″

Barbed Wire Series – Cat’s Cradle Shadow Installation
2019, Flashlight on Cut-out paper dolls (Childern’s sketchbook covers), Dimensions vary.
Barbed Wire Series – Cat’s Cradle Shadow Installation – in detail
Barbed Wire Series – Cat’s Cradle
2017, Single-Channel Projection on Brick Wall, China Marker on Paper, Color, Sound, 42sec. loop,
Dimensions vary

<Wave / Surfers>

Tangled – 1
2019, Woodcut on Rice Paper, image: 11: x 24″
Tangled – 2
2019, Woodcut on Rice Paper, image: 11″ x 24″
Montauk Wave
2018, Single Channel Animation, Graphite on Yellow Legal Notepad, Color, Sound, 2min. loop
Waterfront Series
2018, 4 Channel Moving Image Installation; projection on wood panel, Color, Sound, 40 sec. loop
Surfing 1,2
2018, 2 Channel HD Moving Image, China Marker on Paper, B/W, Sound, 1min loop